Thoroughbreds trails two upper-class teenage girls in suburban Connecticut as they rekindle their unlikely friendship after years of growing apart. Together, they hatch a plan to solve both of their problems - no mater what the cost.
Thoroughbreds was written and directed by Cory Finley as his feature film debut and was one of smaller films that I missed out on from earlier in the year. There was enough buzz surrounding Thoroughbreds that it caught my attention, but it had already left theaters by the time I was eager to see it. Fast forward to now, and I'm currently trying to catch up on releases that have been recommended to me for the purposes of my best & worst films of 2018 (so far) list. All things considered, I'm glad I was able to watch Thoroughbreds the way I did because I knew very little about its plot which made for a fascinating, unpredictable viewing experience. I think it would be best for you to do the same, should you choose to watch, so I'm going to steer clear of plot and character details that might sour the sense of discovery.
In a year crowded with franchise fare, I found Thoroughbreds to be a refreshing change of pace because it constantly kept me guessing. It's not even an elaborate narrative, but you'll be left wondering what certain characters are really thinking on account of a few surprising twists and turns. With nearly no knowledge about the film's story, I found myself quite intrigued as I tried to piece together precisely what direction Thoroughbreds was headed towards. It's subversive enough to keep you on your toes, but simple enough for you to follow the story fairly easily.
One of Thoroughbreds' most admirable qualities is how the film's settings were able to communicate an unsettling atmosphere so effectively. This ambiance is only further expressed and amplified by Lyle Vincent's captivating camerawork and Erik Friedlander's percussive score. Like its lead characters, something seems off underneath the pleasant, pristine surface. Slowly, but surely, the truth is unraveled in this twisted thriller though.
Stars Anya Taylor-Joy and Olivia Cooke are equally excellent in their respective roles, and their dive into the perturbed mindsets of these young girls was quite interesting to watch. Taylor-Joy thinly veils Lily's contempt with just the right amount of nuance and subtlety so the angst is internalized enough to inform her actions, but also communicated clearly enough for the viewer to discern that something's wrong. On the flip-side, Cooke plays Amanda as being completely devoid of emotion (a deliberate, defining character trait). Cooke's vacant stares and awkward social interactions raise plenty of red flags, and also allow the character to be perceived as infinitely more unpredictable in the long run.
Rounding out the trifecta of actors billed on the poster is Anton Yelchin in one of his last onscreen roles. Yelchin had finished filming his scenes for Thoroughbreds mere days before his tragic accident, and it certainly ranks among the higher end of the actor's work that I've seen thus far. In the end, Yelchin plays the drug-dealer Tim as the most human character amongst the nihilistic ensemble, and winds up being one of the most surprisingly sympathetic as well.
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