On Swift Horses

Minahan has made a film about embracing life when you’re not legally allowed to, and he refuses to make watching it a misery, no matter how rough it gets.

For a movie whose core metaphor is about gambling, On Swift Horses rarely takes risks, sketching superficial characters that are more ideas than real people.

The acting is a saving grace, especially Edgar-Jones’ commitment to nuance and Poulter’s refreshingly shaded Lee, whose depth of awareness at a critical moment is a believable surprise, beautifully handled by the actor.

The film is too obsessed with surfaces to be particularly deep, but Daisy Edgar-Jones is especially good as a woman longing for something just out of her grasp and Will Poulter is a heartbreaking everyman.

The film has a satisfying conclusion, which gives away just enough to let the audience walk away with a life lesson.

“On Swift Horses” stumbles a little bit on its way around what feels like an extremely rushed final lap, but this is still a winner.

Fails to deliver on the rich storytelling the opening moments promise of an old school Hollywood epic.

The acting carries the daY

On Swift Horses is the definition of a slow burn, with beautiful people and beautiful cinematography at the forefront.

On Swift Horses stirs emotions through it's pleasing visual language. While the allure was in discovery, many a lingering scene felt suspended as opposed to reinforcing inner musings.