Thoroughbreds (2017)

Two diametrically opposite upper-class teenagers try to devise an intricate and sketchy plan.

Two amazing actresses in a quirky and unpredictable thriller. The slow-burn and verbose Chapter One patiently sets up the scenery and provides insight into who Amanda and Lily are, what they hide inside them, and what they can potentially unleash. This is where Chapter Two comes in, gives you a glimpse of that, and provides the visual justification for the crime that needs to be committed – a little bit more fast-paced, admittedly, but not significantly. And you also get to know Tim, the accomplice. Chapter Three, the actual crime (?), carries the most suspense. Or is it? Chapter Four… actually, I am not telling you about Chapter Four.

Cory Finley has written and directed a deliberately “emotionless” or emotionally confusing (at best) film. From a directing point of view, the protracted shots are a visual feast. They thoroughly frame the action, leading the audience to what they think might happen or purposefully misleading them to what actually does. But what really holds the attention is Olivia Cooke and Anya Taylor-Joy. They are remarkable and have fruitful careers in and outside Hollywood. Their diversity is simply astonishing. Unfortunately, though, not long after the film’s wrap, Anton Yelchin tragically passed at the age of 27. The film is dedicated to his memory, and we surely and sorely miss him.

I recommend it to anyone who has patience with art. To anyone who knows how to follow the narrative and accept it for what it is and not what they would like it to be, and to anyone who appreciates great acting. Whether or not you will like it cannot be predicted. Regardless, I say you have a go at it. I believe it’ll be worth your while.

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