Daisy Edgar-Jones
Muriel
On Swift Horses
“How much would you gamble for love?”
2025
1h 59m
Director: Daniel Minahan
Overview
In the 1950s, a seemingly sensible newlywed and her wayward brother-in-law undertake parallel journeys of risk, romance, and self-discovery.
Cast
12 people
Reviews
5 min read AI-generated editorial review
The Gamble of Looking Away
I’ve seen this trick before. A film drapes itself in golden-hour cinematography, lets its actors simmer in quiet glances, and promises a story about desire and risk—only to flinch at the last moment, as if the camera itself is afraid of what it might capture. On Swift Horses is that kind of movie: beautiful, hesitant, and ultimately unsure whether it wants to be a love story or a cautionary tale.
Daniel Minahan’s adaptation of Shannon Pufahl’s novel arrives in 2025 with the weight of expectation. It’s a film that wants to be Carol meets The Hustler, a mid-century melodrama where the real gamble isn’t the cards on the table but the hearts being quietly wagered. And for a while, it almost works. The first act unfolds like a slow burn, the kind of film where every lingering shot of a cigarette being lit or a dress being buttoned feels charged with meaning. But somewhere in the second hour, the machinery starts to creak. The script, written by Bryce Kass, begins explaining what the camera has already shown us, and the emotional stakes—so carefully built—start to feel like they’re being checked off a list rather than lived.
The film follows two parallel tracks. In California, Muriel (Daisy Edgar-Jones) is a newlywed trapped in a marriage to Lee (Will Poulter), a man whose gambling addiction is as much a part of him as his quiet charm. In Las Vegas, her brother-in-law Julius (Jacob Elordi) is navigating his own dangerous waters, working at a casino and falling into a romance with Henry (Diego Calva), a dealer with secrets of his own. The film’s structure is elegant in theory, a diptych of repression and release, but in practice, it often feels like two movies awkwardly sharing the same frame. Muriel’s story—her growing attraction to her neighbor Sandra (Sasha Calle) and her slow unraveling of the life she thought she wanted—is the more compelling of the two, if only because Edgar-Jones plays it with such restraint. There’s a moment early on where Muriel watches Sandra through a window, her fingers pressing lightly against the glass, and you can almost feel the weight of what she’s not allowing herself to want. It’s the kind of scene that lingers, the kind that makes you lean forward in your seat.
I’ve seen this trick before. A film drapes itself in golden-hour cinematography, lets its actors simmer in quiet glances, and promises a story about desire and risk—only to flinch at the last moment, as if the camera itself is afraid of what it might capture. On Swift Horses is that kind of movie: beautiful, hesitant, and ultimately unsure whether it wants to be a love story or a cautionary tale.
Daniel Minahan’s adaptation of Shannon Pufahl’s novel arrives in 2025 with the weight of expectation. It’s a film that wants to be Carol meets The Hustler, a mid-century melodrama where the real gamble isn’t the cards on the table but the hearts being quietly wagered. And for a while, it almost works. The first act unfolds like a slow burn, the kind of film where every lingering shot of a cigarette being lit or a dress being buttoned feels charged with meaning. But somewhere in the second hour, the machinery starts to creak. The script, written by Bryce Kass, begins explaining what the camera has already shown us, and the emotional stakes—so carefully built—start to feel like they’re being checked off a list rather than lived.
The film follows two parallel tracks. In California, Muriel (Daisy Edgar-Jones) is a newlywed trapped in a marriage to Lee (Will Poulter), a man whose gambling addiction is as much a part of him as his quiet charm. In Las Vegas, her brother-in-law Julius (Jacob Elordi) is navigating his own dangerous waters, working at a casino and falling into a romance with Henry (Diego Calva), a dealer with secrets of his own. The film’s structure is elegant in theory, a diptych of repression and release, but in practice, it often feels like two movies awkwardly sharing the same frame. Muriel’s story—her growing attraction to her neighbor Sandra (Sasha Calle) and her slow unraveling of the life she thought she wanted—is the more compelling of the two, if only because Edgar-Jones plays it with such restraint. There’s a moment early on where Muriel watches Sandra through a window, her fingers pressing lightly against the glass, and you can almost feel the weight of what she’s not allowing herself to want. It’s the kind of scene that lingers, the kind that makes you lean forward in your seat.
Audience Opinions
AI summary of viewer review patterns
Audience 6.7/10 AI
"A visually striking but uneven drama with strong leads that struggles to balance its emotional weight and pacing."
The film’s lush cinematography and compelling performances from Daisy Edgar-Jones and Jacob Elordi draw praise, creating a tense and atmospheric love triangle. However, the story’s rushed conclusion and underdeveloped side characters leave many feeling the narrative doesn’t fully deliver on its early promise.
What viewers praise
- Stunning visuals The movie’s aesthetic and cinematography are frequently highlighted as a standout, enhancing the emotional and narrative depth.
- Strong lead performances Daisy Edgar-Jones and Jacob Elordi receive consistent praise for their chemistry and depth, anchoring the film’s emotional core.
- Atmospheric tension The slow-burn tension and mood are well-crafted, keeping viewers engaged in the characters’ fates.
Common complaints
- Rushed ending The finale feels abrupt and underwhelming, leaving key plot threads unresolved or glossed over.
- Thin supporting roles Side characters lack development, making the story feel unbalanced and less immersive.
- Mixed pacing Some viewers find the film’s rhythm uneven, with moments of drag that disrupt the overall flow.
Recommended for
Fans of slow-burn dramas Daisy Edgar-Jones admirers Lovers of 1950s-era stories Atmospheric romance seekers Jacob Elordi enthusiasts
Full Plot (Spoilers)
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Buzz & Rumors
Public reports AI-researched entertainment notes
Daisy Edgar-Jones and Jacob Elordi Bet Big in On Swift Horses—But Is the Gamble Paying Off?
Daniel Minahan’s On Swift Horses galloped onto Netflix in 2025, pairing Normal People’s Daisy Edgar-Jones with Euphoria’s Jacob Elordi in a 1950s-set romantic drama that’s already sparking chatter—some of it for the wrong reasons. Based on Shannon Pufahl’s 2019 novel, the film follows Muriel Edwards Walker (Edgar-Jones) as she navigates marriage, family secrets, and a growing attraction to her brother-in-law, Julius (Elordi). With a stacked cast and a director known for his work on prestige TV (Deadwood, Game of Thrones), the project had all the makings of a breakout. But early reactions suggest the ride isn’t as smooth as the title implies.
A Star-Studded Gamble with High Stakes
On Swift Horses marks a reunion of sorts for Minahan and Edgar-Jones, who previously collaborated on War of the Worlds (2019). This time, the director leans into the lush, sun-bleached aesthetic of mid-century America, a world where gambling, desire, and repression collide. Edgar-Jones plays Muriel, a newlywed who discovers her husband, Lee (Will Poulter), has a gambling addiction—and that his brother, Julius, might be the key to her escape. Elordi, fresh off his polarizing turn in Saltburn, takes on the role of the brooding, morally ambiguous Julius, while Poulter (The Bear) delivers a performance that Variety calls "a study in quiet desperation" 
.
The supporting cast is no afterthought. Diego Calva (Babylon) and Sasha Calle (The Flash) round out the ensemble, with Don Swayze (son of Patrick) and Schmigadoon!’s Andrew Keenan-Bolger adding depth to the period piece. But the real draw? The simmering tension between Edgar-Jones and Elordi, whose off-screen chemistry has been a talking point since the film’s premiere. Rumors of a behind-the-scenes romance between the two have swirled for months, though neither has confirmed the speculation. (Elordi’s recent split from Priscilla co-star Cailee Spaeny adds fuel to the fire, but as of now, it’s just tabloid fodder.)
Controversy and Mixed Reviews
Netflix’s decision to drop On Swift Horses with little fanfare raised eyebrows—especially given the film’s pedigree. While the streamer has a history of burying mid-budget dramas, the lack of a major marketing push for a project with this much star power felt like a misstep. Early reviews haven’t helped. Variety praised Edgar-Jones’ performance as "a wager worth taking," but called the film "attractive if uneven," noting that Minahan’s direction sometimes struggles to balance the story’s melodramatic and noir-ish tones [2]. Meanwhile, ScreenRant highlighted the film’s "controversial" themes, particularly its exploration of infidelity and gambling addiction, which some viewers have found tonally jarring 
.
The biggest sticking point? The ending. Without spoiling, the film’s resolution has divided audiences, with some calling it bold and others dismissing it as abrupt. Social media has been flooded with debates over whether Muriel’s choices feel earned or forced—a sign that On Swift Horses might be the kind of movie people love to argue about, even if they don’t love the movie itself.
What’s Next for the Cast?
For Edgar-Jones, On Swift Horses is the latest in a string of high-profile roles that have cemented her as one of Hollywood’s most in-demand actresses. She’s set to star in Twisters (2024) and Where the Crawdads Sing’s follow-up, The Marsh King’s Daughter, but her next project remains under wraps. Elordi, meanwhile, is riding the wave of Saltburn’s viral success, with rumors of a Dune sequel role and a potential Bridgerton spin-off in the works.
As for Minahan, the director’s next move is unclear. His TV roots suggest he might return to episodic work, but if On Swift Horses finds its audience, a return to film isn’t out of the question. For now, the movie’s fate rests in the hands of Netflix’s algorithm—and whether viewers are willing to take a gamble on its messy, magnetic charm.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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