FILM REVIEW: ‘THOROUGHBREDS’

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Thoroughbreds is the first movie from writer/director, Corey Finley. As for a debut, I would give him a thumbs up. He clearly understands how to effectively use his camera to build tension — there’s meticulous attention to detail in terms of framing, as well as multiple long tracking shots accompanied by kick drums and snares, almost reminiscent of The Shining. One of these shots in particular introduces us to Amanda, played by Olivia Cooke, where we immediately know there’s something not quite right with her with no dialogue at all. It’s this kind of stuff that saves the movie. The plot is great in concept, but….let’s just…ah, it’s a shame, is what it is.

The setting of this movie is never directly stated, but is highly suggested to be Greenwich, Connecticut — tennis courts in the backyard, sweaters, rowing machines in the house. This is where our lead character, Lily, played by Anya Taylor-Joy, lives with her mother and her new stepdad Mark (played by the highly underrated Paul Sparks), who is the worst kind of WASP. She starts tutoring Amanda, her childhood friend, who wouldn’t you know it, doesn’t feel emotions. When they first meet, Amanda curses like a sailor and Lily talks like a clerk at the Ritz-Carlton. But that’s where Mark comes in. Amanda can see the hatred Lily has for her bicyclist, juice-cleansing stepdad and pries at it, before suggesting to Lily that maybe they should kill him. And that’s the movie.

See, I love me a pitch-black social satire. The setup was all there for a dig at the privileges of the rich, especially with the involvement of a drug dealer played by Anton Yelchin, who unfortunately died in 2016. Guy was an amazing actor, and easily the best part of this movie. But the movie does NOTHING with the chess pieces it puts into place, especially with the element of class that is so integral to the story. The directing is captivating, and Olivia Woode in particular as an unfeeling menace does an awesome job making us laugh, but keeping us on edge at the same time. But…there’s just soooo much talking in rooms and not enough action. And don’t tell me I need explosions in my movies, because I only need them in Keanu Reeves movies. Something’s Gotta Give, where he plays the handsome doctor? Not for me.

The dialogue is very matter-of-fact, which can be humorous, but at the same time, frustrating. As Amanda’s lack of empathy slowly inspires Lily’s approach to conversation, the two end up conversing like mean-spirited aliens unfamiliar with social niceties. That’s where the humor lies. However, the banter eventually becomes one note, because these conversations essentially boil down to:

“I can’t do this.”

“You should, why not?”

“Because it’s wrong, maybe...”

It’s like one long conversation spread across multiple scenes. It’s not all bad, and I know that sounds harsh — again, it can be funny and entertainingly frank — but this is all a slow burn leading up to a a climax. And when movies choose to do that, the climax HAD BEST reward my patience. Killing of a Sacred Deer remains the strangest viewing experience I’ve ever had, almost to the point of being totally inaccessible. But the ending was so damn bizarre and jaw-dropping, that, in retrospect, I kind of like it. Thoroughbreds’ ending was just bleh. It brought nothing new to the table. It ends on a note that is way neater than it should have been. The movie almost makes a promise with its’ introduction to Amanda that it doesn’t quite fulfill.

But don’t let that stop you from seeing this. I would say, it is still worth a look because it is unique and fun in a very dark way. It just has nothing to say when it has an amazing platform to do so, and that’s a real setback. This was Spring Breakers light, if that makes sense. Both beautifully made. Both empty. The craftsmanship is all there, and we get to see Anton Yelchin one last time in a role unlike some of his other work. To wrap this up, it’s a solid debut from Finley, with some amazing camera work and a captivating score — but ultimately, it’s a little bit of a let down. Will he go on to make a better movie than this? I guarantee it. But, again, don’t let that stop you from giving this one a look.


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