In his first script and major directing gig, Cory Finley really delivers. Thoroughbreds is controlled, paced, and loaded with clever sound cues and framing choices. It is magnetic and darkly funny in very unexpected ways. And, also in the most unlikely of ways, it gets you to invest in two sociopaths. There are some echoes with The End of the F***ing World, but Thoroughbreds is more quiet and focused.
A large part of the success of this film is down to the casting; it is perfect for the purpose. In fact, this is the role that Olivia Cooke deserved to play after having to suffer through Ready Player One. Likewise Anya Taylor-Joy (Split) gets to stretch her acting chops and have some fun in this dark suspense/comedy.
And I know I’ve said this before, but I think this is the last of Anton Yelchin’s film appearances we will be graced with. It isn’t his most groundbreaking role, but it is layered in a way that most actors wouldn’t be able to accomplish with such a character. And, in an odd way, having him appear is a bit ghoulish, but in a good way that reflects on the story.
I was surprised by this film; not just for its solid directing, excellent acting, and brave subject matter, but also for how it kept its energy up to the last frame. Admittedly, you need to be in the mood for this kind of story, but it is surprisingly engaging from the moment it begins right through till the end. Finley’s last frame nails home the story he wants to tell, and those sound cues continue through the final credit roll as well. I’m looking forward to more work from him and the two young actors.