“The Only Thing Worse Than Being Incompetent, or Being Unkind, or Being Evil, Is Being Indecisive.” – Amanda

Originally written for the stage, 2017’s Thoroughbreds juggles many conflicting tones, but does so with such panache and charm that it’s rare to find deficiencies within its tonal shifts. With a straightforward yet deeply engrossing plot, elegant visuals and a pair of top-notch performances from Olivia Cooke and Anya Taylor-Joy, Thoroughbreds delivers a sharply written and refreshingly unpredictable entry into the black comedy genre. Placing far more emphasis on its characters and their internal issues than anything other black comedy in recent memory.

Plot Summary: In suburban Connecticut, a pair of childhood friends reconnect after many years when the sharply-witted sociopath, Amanda, arrives at the residence of the wealthy and academically inclined, Lily, for a private tutoring session. After rekindling their friendship, however, Lily soon learns of Amanda’s peculiar philosophy, prompting the pair to hatch a plan to solve both their problems, a plan that begins with the murder of Lily’s detestable stepfather…

Stuck in limbo for almost two years, the production of Thoroughbreds technically ceased in mid-2016, yet the film wasn’t released into cinemas until March 9th, 2018. This was due to several factors, but most notably, this was a result of the film’s lengthy and extensive festival circuit in 2017. During this festival run, Thoroughbreds received many positive reactions, which in a way, surprises me, as even though the plot of Thoroughbreds may sound like a set-up for a compelling thriller, the plot twists and suspenseful moments are never the main attributes of the film. Instead, Thoroughbreds is far more focused on having its characters use their words to eke the darkness out of one another, which ultimately leads to an outcome that, in its theatricality, may feel anticlimactic to some. But, for others, will feel like a unique take on what could’ve been a poorly executed sequence for a lower-budget crime-thriller.

The two central characters of Amanda and Lily, expertly portrayed by Olivia Cooke and Anya Taylor-Joy, are unquestionably the primary focus of Thoroughbreds, with much of the runtime being spent developing the pair and depicting many of the similarities and differences between their respective personalities. For instance, since their early days of horseback riding, Lily has turned into a polished, upper-class teenager with outstanding grades and a coveted internship on her resume. Meanwhile, Amanda has developed a strong sense of perception and a stern attitude, all in the process of becoming a social outcast and unregistered sociopath, which is flawlessly depicted through Cooke’s impassive performance. Sadly, Thoroughbreds was also the final project to feature a terrific performance from actor, Anton Yelchin, as the small-time drug dealer, Tim, before his tragic death on June 19th, 2016, at the age of twenty-seven. As such, the film is dedicated to him.

Despite writer-director Cory Finley (Bad Education) bearing a more extensive background in theatre than filmmaking, Finley displays a natural cinematic instinct right from the opening scene. Depicting the baroque, marble-lined mansion where Lily, her mother and her stepfather reside as more of a prison than a utopia, as the cinematography by Lyle Vincent stalks through the location in lengthy, restless takes. Lingering on specific elements, such as an SUV driving up the gravel driveway or two characters staring at each other from adjacent rooms. Furthermore, the visuals retain a surprisingly vibrant colour palette when considering the grim nature of the story, utilising luminous whites, greens and greys for the majority of the runtime.

For the original score, composer, Erik Friedlander, manipulated various instruments to achieve a number of atonal sounds like boinks and sproings, which all serve as disconcerting counterpoints to the refined visuals. And while there are many excellent tracks throughout the seemingly unstructured score as a result of these unusual sounds, the final track; Win Win, is undoubtedly the best track of the original score, concluding the black comedy on a bittersweet note thanks in part to the optimistic piece.

Bleak yet direct in its underlining commentary on the turmoil of being a teenager in the modern world, Thoroughbreds takes the problems of the young and privileged and explores them through the narrative. With many teenagers (particularly teenage girls) often being told to act or react in specific ways, this story of two girls who are both removed yet acutely aware of their emotions is something to be appreciated in modern character studies. Still, as a consequence of this gradual exploration of the two central characters, I believe many audience members will be turned off by the film on account of its slow pacing and total lack of on-screen violence. However, that’s not to say that I agree with these conceivable criticisms, as even with Thoroughbreds‘ slow pacing, I actually feel that the runtime could’ve been slightly extended, providing more time for characterisation in the first act before the girls reunite.

In summary, Thoroughbreds is a quirky, darkly comedic and entertaining crime-thriller anchored by some exceptional performances and praiseworthy filmmaking. Although the film may not be for everyone given its harsh perspective on teenage life, shortage of blood/gore and frequently slow pacing, Thoroughbreds‘ lavish presentation and snappy dialogue are immensely effective. To the point that the screenplay even manages to make the audience empathise with a character that is completely incapable of empathy, which is a rather impressive feat. Rating: 8/10.