The new animated movie The Boy and the Heron, from director Hayao Miyazaki, is now playing in theaters!
24.11.2023 - 00:19 / justjared.com
Saltburn, the new movie from Oscar winner Emerald Fennell, is now playing everywhere.
Fans who are checking out the movie will likely want to know if they should stick around after the credits for an additional scene. Many movies these days, especially ones that are part of a franchise, will include extra footage at the end to tease future installments or to give audiences some bonus content.
So, do you need to stick around after Saltburn?
Keep reading to find out if you need to wait for a post-credits scene…
We can confirm that NO, there is no post-credits scene during the movie Saltburn, so feel free to leave the theater right when the movie ends without having to worry about missing anything.
The movie features some wild, NSFW moments and stars Jacob Elordi and Barry Keoghan recently reacted to what happens in those scenes.
The new animated movie The Boy and the Heron, from director Hayao Miyazaki, is now playing in theaters!
Saltburn, a firm fave on the festival circuit, and indeed here on the site, is set to arrive on Prime Video all around the world from 22nd December.Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, and Carey Mulligan lead the cast of the film which is written and directed by Fennell.Academy Award winning filmmaker Emerald Fennell (Promising Young Woman) brings us a beautifully wicked tale of privilege and desire. Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.We reviewed the film recently describing it as ‘The Talented Mr. Ripley by the way of Rules of Attraction and Cruel Intentions.
The movie Saltburn has been talked about constantly on social media for the last few weeks and now fans will have the chance to watch the film at home!
Saltburn, the gothic romance thriller from Oscar winner Emerald Fennell, will be available to stream worldwide on Prime Video on Dec. 22. The news comes after the Jacob Elordi, Barry Keoghan, Rosamund Pike, Richard E. Grant, and Carey Mulligan movie had an amazing post-Thanksgiving hold at the box office of -10% in its third weekend with $1.678M at 1,566 theaters.
Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. You don’t have t wait until summer vacation to escape to Saltburn. Emerald Fennell’s buzzy sophomore film, which premiered in theaters in November, will arrive on Prime Video on Dec.
Three very different movies, original, with arthouse cred and in theaters for weeks, are drawing audiences showing welcome depth and breadth in the specialty market as awards season kicks off. Nicolas Cage’s nerdy character sees his life collapse when he randomly starts appearing in people’s dreamsas Dream Scenario has a solid expansion, Saltburn is attracting young crowds on the coasts, The Holdovers drawing elusive older demos to theaters.
Freshly furnished with the 2021 Best Screenplay Oscar for Promising Young Woman, Emerald Fennell was inundated with offers. Instead, she tucked herself away to concentrate on her next project, Saltburn.
Having won an Oscar for her gritty first film about a revenge murder, Emerald Fennell’s second movie, out this week, reminds us that she doesn’t believe in happy endings. Saltburn is about a vengeful college student who aspires to an even wider death toll.
The movie Saltburn is now in theaters and it features so many moments throughout the film that will leave you quite shocked that you’re even witnessing it on the big screen.
Deadline’s Read the Screenplay series, spotlighting the year’s most talked-about scripts, continues with Saltburn, the brutally dark satirical thriller written and directed by Emerald Fennell. The pic marks her sophomore feature, on the heels of the Best Original Screenplay Oscar winner Promising Young Woman.
Amazon/MGM’s Saltburn, the dark-comedy sendoff of British upper class, expanded nicely in a big jump from seven screens to 1,566, nabbing a spot in the top ten. The film by Emerald Fennell (Promising Young Woman) grossed $1.73 million for the three-day weekend and $2.7 million for the five-day Thanksgiving frame thanks to a strong core group of theaters.
Following her Best Original Screenplay win for Promising Young Woman, Saltburn, Emerald Fennell’s sophomore feature, presents a gothic tale of obsession and excess, starring Barry Keoghan as Oliver, a social-climbing Oxford student obsessed with the aristocratic Felix (Jacob Elordi). The multi-hyphenate Fennell also pops up as the pregnant Midge doll in Barbie and is co-penning the upcoming John Wick spinoff Ballerina. Here, she agrees to revisit some best memories, or, as she puts it, “rummage around those skeletons.”
Barry Keoghan dares to bare it all in Saltburn. Now, director Emerald Fennell is opening up about the decision to include full-frontal nudity in the movie.
Emerald Fennell’s dark comedy Saltburn takes a massive jump from to over 1,500 screens today as Bradley Cooper’s Maestro, Hayao Miyazaki’s latest The Boy and the Heron, animated They Shot The Piano Player and other festival favorites launch awards season runs this Thanksgiving specialty weekend.
Jazz Tangcay Artisans Editor SPOILER ALERT: This story discusses major plot points, including the ending for “Saltburn.” Singer-songwriter Sophie Ellis-Bextor was already a fan of Emerald Fennell when she was approached about the use of her 2001 hit “Murder on the Dancefloor” in “Saltburn.” “I loved ‘Promising Young Woman,’” Ellis-Bextor says. But what really sold it to her was the pitch: “A naked man dancing through the rooms of a stately home…I’ve got a quirky sense of humor, and my main thing was, ‘I’ve got to see that.’” Set in 2006, Oliver is a student at Oxford University who becomes dangerously obsessed with the suave and good-looking aristocratic classmate Felix, played by Jacob Elordi.
There is no need for anyone to delicately dance around the reactions to “Saltburn.” Director and screenwriter Emerald Fennell is well aware her follow-up to the Oscar-winning “Promising Young Woman” is, for lack of a better phrase, somewhat polarizing. In fact, after speaking with her late last week it’s clear those sorts of passionate reactions (throw this writer into the growing “love it” camp) are exactly what she’s going for.
Jacob Elordi and Barry Keoghan‘s new movie Saltburn is out now in select theaters and there are some scenes that are definitely not safe for work.
Marc Malkin Senior Film Awards, Events & Lifestyle Editor SPOILER ALERT: This story contains descriptions of key scenes and storylines in “Saltburn.” Oscar-winning filmmaker Emerald Fennell’s new twisted thriller, “Saltburn,” includes several graphic scenes that have left moviegoers debating whether to be titillated or disturbed. “It gets under your skin,” Fennell told me Tuesday at the film’s Los Angeles premiere. “We just want to make something that makes people feel something.
Will Tizard Contributor Cinematographer Linus Sandgren says he and director Emerald Fennell relied on their emotions and instincts to conjure the “gothic” look of “Saltburn,” the hybrid psychological horror and dark comedy just screened at the Camerimage cinematography festival in Torun, Poland. The film’s tight Academy aspect ratio, for one thing, was an idea that arose only after meeting with Fennell, who wrote the over-the-top story of a strange, middle-class Oxford student, Oliver Quick (Barry Keoghan), infiltrating the world of the filthy rich one sunny summer.
SPOILER ALERT: This story discusses major plot points, including the ending for “Saltburn.” In the final moments of Emerald Fennell’s “Saltburn,” Sophie Ellis-Bextor’s 2001 song, “Murder on the Dancefloor” pumps out over the speakers, while Barry Keoghan’s Oliver dances stark naked through a grand estate house in the British countryside. “Everything is diabolical, but it’s exhilarating,” Fennell explained. “It’s post-coital, euphoric, solitary and it’s mad.” Cinematographer Linus Sandgren said the scene is about Oliver feeling as if he owns the place.