Two teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. In the process, they learn that neither is what she seems to be, and that a murder might solve both of their problems.
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This is one intense film that feels like John Waters meets Harmony Korrine by way of Todd Haynes. The darkness of this film is complemented by the vibrant set pieces and the unsettling music fits this film like a glove as these two girls try and find themselves in a society that doesn't care about them and doesn't even really know itself. Truly a film for our times and featuring two extraordinary young talents.
If you spent your teenage years feeling disaffected and alone (and maybe reading too much Bret Easton Ellis), but are able to look back at that time with a level of distance and irony as an adult, "Thoroughbreds" is a film that totally gets you. Olivia Cooke ("Bates Motel") and Anton Yelchin steal their every scene, and writer/director Cory Finley displays a strong filmic sensibility despite a background in theater.
7.5/10. A weird cross between Heathers and Equus, THOROUGHBREDS is pitch perfect black satire--for the first hour. The film falters in its finale, working up to a murder plot, whose scheming is more interesting than its execution.
Olivia Cooke and Anya Taylor-Joy have incredible chemistry, but its a shame the plot grinds to a halt in the third act. Its like they took the keys out of the car and just decided to push the damn thing the rest of the way. By the time we get there, its not as interesting anymore. Luckily, the camerawork is so clever and the musical score so exact, you won't mind so much.
This felt like the most violent film I've seen in a long time but it shows very little. Through implication and sound design, Finley paints disturbing images in your mind that will likely not go away for a very long time. The lead performances from Olivia Cooke and Anya Taylor-Joy are fantastic. They strike the perfect balance of being disarmingly funny but frighteningly cold.
A strange, claustrophobic movie. So glad Anton Yelchin was there to break up the stilted, awkwardly styiized dialogue of the two leads. The women seemed directed to act like models in an Anthropologie photo shoot. The tone was helped greatly by the dramatic, dissonant musical score. At the end, the movie fizzled out, somehow strangely afraid of showing anything of great import, and thus signifying not much at all.