Latest news with #OnSwiftHorses'
Yahoo
04-05-2025
- Entertainment
- Yahoo
Diego Calva Suffered 'Neck Pain' From Kissing 6'5″ Jacob Elordi In ‘On Swift Horses'
While filming On Swift Horses, Diego Calva experienced some whiplash that was not equestrian-related. The Golden Globe nominee recalled suffering 'neck pain' while kissing 6'5″ scene partner Jacob Elordi in some steamy scenes from the Daniel Minahan-helmed queer romance, now playing in theaters. More from Deadline 'On Swift Horses' Director Explains How Jacob Elordi & Daisy Edgar-Jones' Dynamic 'Transcends Sexuality' Jacob Elordi & Daisy Edgar-Jones Drama 'On Swift Horses' Sets Spring Release Jill Sobule Dies In House Fire: LGBTQ Artist Behind "I Kissed A Girl" & "Supermodel" Was 66 'There was one moment, probably the first scene when I realised how tall Jacob was and it was my first time acting looking up,' he told Attitude. 'He was laughing at me! He's way taller – I had like a neck pain for the first week from just kissing.' Calva also admitted to being intimidated around his co-star in their nude scenes. 'Believe me, being naked around Jacob Elordi is intimidating! He's like a fucking god! He's too perfect! … It's hard not to do a hot scene with Jacob shirtless!' he said. In On Swift Horses, Muriel (Daisy Edgar-Jones) and husband Lee (Will Poulter) begin a new life together in California after he returns home from the Korean War. But the arrival of Lee's charismatic younger brother Julius (Elordi) threatens to upend their new home. As Muriel sparks an affair with her neighbor Sandra (Sasha Calle), Julius moves to Las Vegas and finds work in a casino, where he begins his own romance with co-worker Henry (Calva). Best of Deadline 2025 TV Cancellations: Photo Gallery Brad Pitt's Apple 'F1' Movie: Everything We Know So Far Everything We Know About 'Nine Perfect Strangers' Season 2 So Far
Yahoo
02-05-2025
- Entertainment
- Yahoo
Jill Sobule Dies In House Fire: LGBTQ Artist Behind ‘I Kissed A Girl' & ‘Supermodel' Was 66
Jill Sobule, the pop artist best known for 'I Kissed a Girl' and other songs including 'Supermodel,' has died in a house fire. She was 66. According to local news reports, firefighters in responded to call at about 5:30 a.m. Thursday at a house in Woodbury, Minnesota, which was fully engulfed in flames upon arrival. The cause of the fire is under investigation. More from Deadline 2025 Deaths Photo Gallery: Hollywood & Media Obituaries Andrew Karpen Dies: Bleecker Street Media Founder And CEO Was 59 'On Swift Horses' Director Explains How Jacob Elordi & Daisy Edgar-Jones' Dynamic "Transcends Sexuality" 'Jill Sobule was a force of nature and human rights advocate whose music is woven into our culture,' her manager John Porter said in a statement shared with our sister publication Rolling Stone. 'I was having so much fun working with her. I lost a client and a friend today. I hope her music, memory and legacy continue to live on and inspire others.' Born Jan. 16, 1959, in Denver, Sobule released her Todd Rundgren-produced debut album Things Here Are Different in 1990. Other albums include Happy Town (1997), Pink Pearl (2000), Underdog Victorious (2004), California Years (2009), Dottie's Charm (2014) and Nostalgia Kills (2018). Singer-songwriter and guitarist Sobule became popular for her self-titled second album in 1995, which featured the lesbian anthem 'I Kissed a Girl,' the first gay-themed song to make the Top 20 on Billboard's Modern Rock, and the bop 'Supermodel,' which appeared that year in the seminal teen film Clueless. Watch the video for 'I Kissed a Girl' here: Composing music for film and television, Sobule's work appeared in Nickelodeon's Unfabulous, and she acted and performed her music in the 2004 film Mind the Gap. Sobule's death comes ahead of the June 6 release of the original cast recording for her 2023 Off-Broadway musical memoir F*ck7thGrade, coinciding with the 30th anniversary of her self-titled album. Explaining that she's 'been known to do topical and political songs' in her career, Sobule said while touring with The Fixx last month, 'I'm certainly not used to tiptoeing around. So it's interesting and even wonderful to figure out what you can get away with and how you can still relate to people who disagree with you.' Best of Deadline Brad Pitt's Apple 'F1' Movie: Everything We Know So Far Everything We Know About 'Nine Perfect Strangers' Season 2 So Far 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
Los Angeles Times
25-04-2025
- Entertainment
- Los Angeles Times
In ‘On Swift Horses,' a handsome trio stumbles into romance and messier feelings
What looks at first glance to be your standard postwar love triangle — made up of oil-and-water brothers and a cagey housewife — reveals itself to be more like a multi-faceted crystal of lust and longing in the handsomely realized romantic melodrama 'On Swift Horses.' Unpacking the apprehensions and opportunities of boom-time America as laid out in Shannon Pufahl's 2019 novel, director Daniel Minahan gamely plants one foot in Douglas Sirk territory while glancing in the direction of Todd Haynes. But just when the central characters' fascinating messiness achieves peak interest, you realize this movie's earnest commercial shimmer is never going to segue into a denser, darker poetry. It's a good-looking movie about sublimated lives and the need to break free, one that feels torn between presenting the surface allure of those desires in a repressive time and exploring anything deeper. For an hour, though, it has the pop and pull of a midcentury soap opera that benefits from R-rated frankness. Stifled Muriel (Daisy Edgar-Jones) agrees to marry her beau, Lee (Will Poulter), back from a stint in the Korean War, and uproot their Kansas lives to make a go of it in sunny, shiny, expanding Southern California. Lee's cynical cardsharp of a brother, Julius (Jacob Elordi), was meant to be part of that dream move, but the call of gambling takes Julius to Las Vegas instead. What for Lee is garden-variety disappointment about not having family around is, in Muriel, a more intangible sexual absence she can't articulate beyond an interest in the appeal of risk. A nicely understated anxiety in Edgar-Jones' portrayal conveys her new life in suburban San Diego. Already good at hiding cigarettes, Muriel starts lying about her communication with Julius, while keeping from Lee her winnings from racetrack bets (acting on tips overheard at her diner job). Julius, meanwhile, becomes a card-cheat spotter for a casino as an act of atonement for his thieving ways — it's easy to buy Elordi's take on '50s rogue sensitivity. But high in the sweltering catwalks above the gambling tables, he meets sexy, forthright Tijuana transplant Henry (Diego Calva) and suddenly the other vein of concealment in Julius's cautious, cynical life — being gay — is at risk of breaking wide open into a consuming passion. (Metaphor alert: Thrill-seeking Henry drags Julius out to the desert to watch bomb tests.) Dormant attractions in Muriel are separately tested, too, by openly queer and political Latina neighbor Sandra (Sasha Calle), who upon first meeting her, holds out a palm so Muriel, trying her first olive, can spit out the pit. Someone's list of secrets is about to get longer. Bryce Kass' incident-packed screenplay keeps Minahan busy, but the twinned narratives and their snap-into-place dangers ultimately overwhelm the unease that make the first half of 'On Swift Horses' so palpably jangly inside all the period production design and Luc Montpellier's crisp cinematography. Minahan, a TV veteran, eventually falls into the trap of episodic management, to the point where characters lose their individuality within the story's growing dependence on constructs, gestures and making points. 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. Only Elordi, variously treated like beefcake and brooder, seems lost trying to square Julius' early vulnerability with the final act's hopeful romance. His grand denouement is meant to be a catharsis for a deliberately corrective slice of emotional history. But it instead feels like an easy escape hatch when what 'On Swift Horses' promised was a richer psychological landscape about what roils inside hearts accustomed to hiding.
New York Times
24-04-2025
- Entertainment
- New York Times
‘On Swift Horses' Review: Putting It All on the Line
Often the movies treat love and desire as if they're easy to define: romantic, platonic, familial, sexual. Either you want him or you don't; either you love her or you don't. But the messy places in between those poles are where real life lies, and that's where 'On Swift Horses' dwells. Based on Shannon Pufahl's 2019 novel, the story is set in the 1950s, in a world in which characters might act on desire but do not really speak of it directly. The air around them is thus charged with something that crackles and explodes, and the movie, when it works, is electric. It doesn't always work, but you won't mind that much, because it's so beautiful to look at. The story centers on Muriel (Daisy Edgar-Jones), who is engaged to Lee (Will Poulter), a soldier who's on leave from his tour of duty in Korea. We meet them in bed at the Kansas house she inherited from her mother, whose voracious hunger for life and experience set an example that Muriel yearns to follow. Within the first few moments of the film, Muriel repairs to the bathroom in a filmy nightgown for a postcoital cigarette and, leaning out her bathroom's second-story window, discovers the long body and smiling face of Julius (Jacob Elordi) sprawled across the hood of his car below, brazenly shirtless, soaking in the sun. If you thought this was going to be a buttoned-up and modest film, think again: The director Daniel Minahan has no compunction about the fact we're here to admire these people. The two spark, exchanging cigarettes and repartee, with the ease of strangers who nonetheless know each other. Julius is Lee's brother, already discharged from his own tour in Korea, and Muriel has been expecting him. Julius soon comes inside and spends the evening with Lee and Muriel, and that's the genesis of everything that follows. It's a tangled kind of story: Lee worships Muriel and longs for a house, a family, a life. Muriel loves Lee back, but maybe in a different way, something that starts to become evident when they move to California and she meets their neighbor, Sandra (Sasha Calle). Yet she also senses an instant connection with Julius, who soon takes off for Las Vegas and a job in a casino. Julius is a gambler, both the literal and metaphorical kind; he inspires Muriel to try betting on horses soon after she and Lee move to California. He falls into a relationship with another casino employee, Henry (Diego Calva), but they dare not let that fact outside the room they share. There is a lot of plot packed into this movie — this description is just a slice of it — and it can be hard to catch your breath. Minahan tries to make space by giving us plenty of saturated and gorgeous shots of the light falling across Edgar-Jones and Elordi, who rarely share a screen but between whom there's a kind of intoxicating thread that beams across all the miles and, occasionally, the telephone line. Both embody a certain languid old-school movie star quality, the kind that makes you want to get up close and just look at them as they look at someone else. Elordi in particular moves his body like he dropped into our time from an earlier era, which might be why, despite his rise to fame having originated from roles in the very contemporary 'Kissing Booth' movies and the HBO show 'Euphoria,' he keeps showing up in movies set in the past. He's Elvis Presley in 'Priscilla,' for instance; in 'Oh, Canada' he plays the young version of Richard Gere's character, in an uncanny imitation of Gere's energy roughly circa 1970. That quality is hard to describe, exactly, but you know it when you see it, and here you certainly see it. Poulter, Calle and Calva are excellent as well, but they're more animated, more engaged in the world around them. They tend to throw the otherworldliness of the leads into relief. But the sheer quantity of narrative in which these characters engage hamstrings the story, which feels sweeping in the manner of certain films from the era — it's not a perfect comparison, but I kept thinking of George Stevens's 1956 epic 'Giant' — but the film lacks a running time that allows the shifts of emotion to fully ripen. Jumping between Muriel and Julius, it's easy to lose track of what either of them are really feeling in the moment, which means we just have to believe characters when they say how they feel, whether or not it feels merited. That's frustrating, though it's hard to imagine anyone greenlighting a film of this type at double length these days, even one boasting rising stars. But that's a gamble worth taking, which incidentally is kind of the point of the film. Julius's inclination to make bets and take risks far past the point of wisdom furnishes the overarching metaphor for the story, including its title. The crux of both love and desire is putting something of yourself on the line and hoping it comes back rewarded, not crushed. But if we've learned one thing from the movies, it's this: There are no guarantees in life, and what you want may never work out the way you dreamed.
Associated Press
23-04-2025
- Entertainment
- Associated Press
Movie Review: 'On Swift Horses' is a fumbled queer tale set against atomic blasts
Muriel, a waitress in 1950s America, seems to be the quintessential June Cleaver. She's got a loving husband, a suburban house with a white picket fence in California and nice outfits. But not everything is as it seems, like her secret gambling. And her eye for a neighbor. 'On Swift Horses,' based on Shannon Pufahl's novel of the same name and adapted by Bryce Kass, is all about how a dominant culture can suppress natural impulses. More specifically, it's a queer tale set against the post-Korean War status quo. 'We are all just a hair's breadth from losing everything, all the time,' Muriel is told by a woman also hiding her truth in plain sight. But despite a brilliant performance by Daisy Edgar-Jones, 'On Swift Horses' gets lost in a meandering plot and clunky symbols, including olives, atomic bomb tests, a tiny gun and a horse, the universal sign of the unbridled self that is just sort of dumped here. The execution is often slack and then veers into melodrama in the last 15 minutes. And there's a weird noir vibe that doesn't really work. That's a shame because a film dealing with hidden homosexuality is very relevant as some forces seem to seek to return America to the '50s — two genders, no queer accommodation, definitely nothing trans. The neat and tidy world of Edgar-Jones' Muriel becomes unmoored by the emergence of Julius, her husband's brother. Julius — played by a forever-smoldering Jacob Elordi with an ever-present cigarette, which goes from acting prop to crutch — brings an anarchic energy. He's a cad, but a lovable one. He recognizes something in Muriel — a wistfulness, a restlessness. 'I think you see all through all of it,' he tells her. She soon overhears horse racing tips at work and uses them to earn thousands, hiding the winnings from her husband. She also seems to connect in a flirtatious way with neighbor Sandra (Sasha Calle, excellent). Meanwhile, Julius has ended up in Las Vegas, falling in love with a co-worker, played by a soulful Diego Calva. They're employed by a casino to watch over gamblers and make sure there's no cheating. They are basically pairs of eyes removed from the world, watching from a perch above the action. The Julius storyline — the push and pull of whether these two closeted men should be outlaws or live in the system — yanks focus from Muriel's storyline. Gambling is used as a metaphor for being queer at a time when it was dangerous, but it rarely lands. Director Daniel Minahan and the cast concentrate on small coded gestures — a glance, a lingering touch, a matchbook passed along — to indicate desires, but they are undone by massive symbols, like that silly horse. One moment sticks out that has no dialogue at all: a powerful scene where Muriel's husband unexpectedly finds his wife outside the neighbor's house and they share a silent ride home. His mind is turning just as the wheels do. Edgar-Jones shows equal parts vulnerability and steeliness, superb at communicating what her slippery character is really feeling even as she blends in on the outside. Heartbreakingly, she turns to her husband (Will Poulter, underwritten) at one point and asks: 'Did you ever want this?' 'On Swift Horses' belongs in the same category as other hushed '50s-set same-sex romances, like Todd Haynes' 'Carol' or Luca Guadagnino's 'Queer.' But this adaptation hasn't made the leap to the screen very well. Sometimes swift horses stumble. 'On Swift Horses,' a Sony Pictures Classic release, is rated R for sexual content, nudity and some language. Running time: 119 minutes. Two stars out of four.
