Thoroughbreds (2017) User Reviews (221)

A Sociopath and a Psycopath Walk into a Stable...

[PyroSikTh · 7/10 · 14 August 2020]

Thoroughbreds is a movie about...teenage psychopaths? Amanda is a clear-as-day sociopath who needs a new therapist. She's never had feelings or emotions, learning her entire life to fake them, and convincingly so, but nonetheless giving off creepy vibes to those around her. After an incident with her horse leaves her more isolated than usual, her mother sets her up with an old childhood friend for tutoring. Enter Lily, a charming and initially likeable girl, pretty and clearly smart, but harbours a vindictive, manipulative, and nihilistic core beneath the facade of have-it-all. After a handful of "playdates", the girls hatch a plan to murder Lily's stepfather, dragging local wash-up Tim into the plot.

The film starts off leaning heavily into its comedic tone, juxtaposing the two girls and their personalities off against one another. Many a laugh was found in digging into a loner with no emotions being so plainly to the point, with a girl who's spent her entire life harbouring grudges and ill-intent. Both the matter-of-fact reactions from Amanda, and the new found freedom of honesty without consequence for Lily, creates an enticing dynamic between the two of them. At some point around the halfway mark, the movie loses this tone almost entirely.

While it never feels like it gets particularly darker, the seriousness does start to creep in. We start questioning who the real monster of the story is. The stepfather, Mark, comes off as a creepy, controlling a**hole initially, but it soon becomes apparent that we're only seeing him through the eyes of nihilistic Lily who hates his guts. We start seeing small hints that maybe the family dynamic isn't as it first seems. Maybe Mark is actually just a nice guy forced into living with a psychopathic teenage girl? Furthermore, maybe the sociopath who doesn't have emotions is actually the most well-intended character of the lot, as it comes to light that she only killed her horse out of mercy; to put the creature out of its misery. Her methods were unsavoury, but she did the best with what she had. Amanda clearly cares for Lily, saving her from drowning, attempting to help her with her stepfather situation, and being emotional support for her when she needs it most. She doesn't always go about things the right way, thanks to lacking those human emotions, but the care and good-intent comes through nonetheless.

Acting is pretty great across the board. Olivia Cooke and Anya Taylor-Joy prove true equals, able to play off each other perfectly without missing a beat. Cooke manages to give the emotionless Amanda something for us as the audience to grab hold of and sympathise with. Taylor-Joy on the other hand manages that air of affluence to cover her character's more detestable traits brilliantly, making her initially likeable, but able to make the transition to downright horrible quick and easy. Paul Sparks is fantastically reserved as Mark, never leaning one way or the other in his portrayal, leaving interpretations open as to whether Mark actually earned his fate or not. And finally Anton Yelchin's final performance pales in comparison to some of his others, but it's not a bad way to go out. His tragic Tim is just as morally ambiguous as everyone else, but he gives him an edge that makes him lean more towards the likeable side. Poor guy just got dragged in way over his head, and his ambitious tough-guy persona is clearly just a facade.

But honestly the single most notable thing about Thoroughbreds is its sound design. Every scene oozes with delectable sound design that breaths life into the settings, tension into the atmospheres, and offers a climax quite unlike any other. The film opens with Amanda wondering around a large country manor, while the soundtrack just offers a sparse and foreboding percussion pulse, instantly setting a dark and intriguing tone. This percussion-driven soundtrack permeates through every sequence, punctuated by long, drawn-out silences. But even the sound design of a rowing machine on the first floor heard from below, or of stone chess pieces being moved around and meticulously placed, or the lingering of the camera on a laptop as we hear Lily brush her teeth waiting for the sound of a message notification, and her horrified expression as more message notifications come through. This isn't so much a movie that subscribes to 'show don't tell', but one that eschews showing entirely, merely giving you the sound of it and letting you infer from there. The fact the film's climax is as effective as it is when it's essentially just a ten-minute shot of a girl sleeping on the sofa speaks volumes to the sound design team at work.

And yet amid all this praise and analysis, I didn't love Thoroughbreds. It's a fine movie, but it lacks a real hook. It gets close in the first half with the comedic dynamic between Amanda and Lily as they verbally spar, but once that simmers away, we're left with a fairly dull and unremarkable story of teenage psychopaths plotting murder. While the sound design of that final climax is astounding, it lacks that climatic feeling by its nature, and its following coda feels unearned and unsatisfying. I give Thoroughbreds a palatable 7/10, even if just for the soundtrack and sound design.

Cool, clever, but doesn't make us care

[paul2001sw-1 · 7/10 · 31 January 2021]

Many moody teenagers must have rhetorically contemplated killing their parents (and step-parents); one thing someone in that situation doesn't need is a best friend "unable to feel emotions" who may not dissuade but rather offer practical advice. Such is the premise of Cory Finley's film 'Thoroughbreds'. The movie is shot coolly; the worst violence occurs offscreen, the score is mostly silence except for key moments, the world where the action is set is one of wealth and taste, but also one that feels empty and remote from ordinary's people's lives. The protagonists, in spite of their youth, are jaded and know-it-all. The film's weakness, perhaps, is it's ending; it turns out the central character really really does want to kill her stepdad, which is OK as a plot non-twist (this is the ending we might have been expecting the story to twist away from) but doesn't leave the viewer anything to care about.

coldly deadly

[SnoopyStyle · 7/10 · 9 June 2018]

In upper class Connecticut, Amanda (Olivia Cooke) arrives at former classmate Lily Reynolds (Anya Taylor-Joy)'s mansion for a study session. Amanda reveals her inability to connect emotionally and Lily had actually been paid by Amanda's mother for a playdate. When Amanda suggests killing Lily's annoying stepdad, Lily ends the session. Lily had been kicked out of school and her stepdad is forcing her into a boarding school for troubled teens. In frustration, she accepts Amanda's suggestion and blackmails struggling drug dealer Tim (Anton Yelchin) to do the killing.

The cold deadpan delivery of both leads gives this an unique emotional disconnection. There is a character discovery as to how damaged these girls actually are. The drawback is that the style leaves the energy at a lower level. The actresses' deliberately flat performances is a hurdle to overcome. In the climax, there is an opportunity for a gruesome violent murder scene but the movie avoids it for either stylistic reason or filmmaking simplification. It would help to have the climax blow up in an explosion of violence. I found one scene being hilariously funny and I would like more humor. This is a terrific movie although it could still be better.

NOT a comedy

[horrorgasm · 9 June 2018]

Apparently it was very upsetting to a lot of reviewers here that they found this in the comedy section of their local Red Box or whatever, saw two peppy looking teen girls on the cover, and had severe overreactions when they discovered that this movie "misled". It seems so strange to me that people continue to blind-watch movies and then get mad at the movie for not being what they convinced themselves the movie was about. You would have spent just as long watching a trailer or reading a one paragraph synopsis or review as you did coming back here to leave an awful review trashing a movie for your own mistake, but then I guess you'd have to admit that the problem was on your end.

Look, this is NOT a comedy. There are a few dry laughs here and there, but this is absolutely not a movie you want to watch for the laughs. This is a drama and it's one that deals with some pretty dark subjects. Unfortunately, it's hard to talk about what the point of this movie is without giving everything away. Let's just say it's the story of a friendship that forms between two very disturbed young women which takes a look at the darker side of human nature along the way. It's surprising, disturbing, and also surprisingly touching at times.

If you're not a complete fool that's looking for teen comedy in all the wrong places, give this a try, you might find yourself very surprised. I'd give it an 8 or a 9, but I'm going to go ahead and give it a 10 just to balance out all the triggered whiners giving it 1's for no good reason.

A refreshing take on this type of film.

[ronakkotian · 7/10 · 6 November 2020]

I decided to check this film out because the premise sounded very interesting but it was told in a way I didn't expect.

Thoroughbreds follow two teenage girls, Amanda and Lily, who both scheme to kill Lily's stepfather.

This is a very strange film. Cory Finley has a background in plays and it clearly shows in Thoroughbreds. There are a lot of scenes where characters just talk in one location but what makes it fun to watch is the dialogue and performances. The humour may not appeal to everybody but I found a lot of the lines to be pretty funny. It reminded me of American Psycho a lot. The humour is very dark and subtle and if you're on board with that then you may like this film. Alongside that, Olivia Cooke and Anya Taylor-Joy are pretty fantastic in this film. They have great chemistry with one another and suit their roles really well. Unfortunately this is Anton Yelchin's final performance but he shines during the scenes he's present in.

The cinematography and production design was really good. The score is what really stood out to me. It's filled with all sorts of strange sounds that fit well with the overall style of the film. The ending does feel underwhelming and it could be due to budget constraints or Finley's background in plays.

For the most part I enjoyed the deadpan humour and I thought Finley's approach to this kind of film was quite refreshing but I feel the story and the stakes could have been elevated more to make it even more entertaining.

Meh

[chubert-47506 · 6/10 · 15 October 2018]

Dark. Cool. Weird. Funny. I don't get the Heathers or American Psycho comparisons. RIP A. Y.

Love the relationship

[Johannesn · 7/10 · 15 July 2018]

I'm not sure this movie classifies as a comedy film. It's a light movie, but it's more serious than funny if you ask me. I really love this indie movie, and I watched it because of Anya Taylor-Joy. She did phenomenal and so did Olivia Cooke.

More indie films like this! (:

The Movie That Makes You Feel Nothing

[shanealyward · 6/10 · 8 June 2018]

The movie that makes you feel nothing.

I was absolutely stoked to watch the film Thoroughbreds as it was one of the last films Anton Yelchin got to act in before his sad, bizarre, young death. Ive always admired him and thought he was a brilliant actor, who was ahead of his time. The film follows two upper-class teenage girls in suburban Connecticut who rekindle their unlikely friendship after years of growing apart. Together, they hatch a plan to solve both of their problems-no matter what the cost. This indie, drama, thriller captures you with its brilliant acting but falls flat with its very slow pace. There is almost never a sense of urgency in any scene, even though there might be a sense of urgency to the character. The movie that made me feel nothing may have been the point the entire time. With both characters incapable of emotion, the film itself is purposely stagnent. This film had a stellar score, A + acting and stylish visuals but the story just felt a little to on the simple side and failed to really attach me to what could have been a top notch, new age teen thriller. All in all, I watched this film to see Anton Yelchin in one of his last rolls and he was brilliant as always, Olivia Cook and Anya Taylor-Joy are fantastic in everyway and keep the movie afloat although its eagerness to sink.

Thoroughbreds 6/10

Dark, sleek, deadly

[2001ASOfan · 10/10 · 15 March 2018]

If you appreciate a sleek, compact, deliberately-paced, meticulously well-written, acted, and directed dark (and I mean dark) black comedy/drama (that leans more to drama than comedy), dripping with morose atmosphere, "Thoroughbreds" has arrived. There isn't a false or wasted moment between the two lead actresses right up to the quietly startling climax, and Paul Sparks' soul-sucking turn as a controlled--and controlling--stepfather lost in an obsessive-compulsive disorder of a life has you disbelieving it could be the same actor who also so effectively played the soulless theater critic in "The Greatest Showman" (although Mr. Sparks might want to try an all-out comedy next--he's in danger of getting typecast playing soul-deadening men--because he does it so well). Saw this on a rainy, dreary day, and it fit the day perfectly.

Pretty little murderers

[Horst_In_Translation · 6/10 · 16 August 2018]

"Thoroughbreds" is a new American 90-minute movie from 2017 and this one was written and directed by Cory Finley and as it is his very first career effort, this is a pretty decent achievement I would say. This is the story of two female friends who were very close years ago and they meet again after a pretty long time with both fighting their own battles. One struggles with her unlikable stepfather, the other with the fact that she is unable to feel anything, neither positive nor negative. And in this context I liked how she went for hugs at times while seeming so cold and distant pretty much for the entire rest of the movie. The key plot is the girls' idea to kill the man I mentioned earlier and how they try to get a drug seller to commit this horrible act for them through blackmail. Well yeah, the solution with regard to this character (played by the late Anton Yelchin) is one I liked too I guess because it felt realistic. But there were also moments I did not enjoy too much I must say, for example the thriller element is never on par with what it could have been given the subject. The film does not go for cheap scenes of indicating sexual references or anything like that and that's okay. Olivia Cooke is stunning enough already anyway and some others will probably like her co-lead Anya Taylor-Joy too I am sure. So something for everybody, at least the straight males. The movie received a great deal of awards recognition already. Sure it's not one that will score at the Oscars or so, but it is fine for what it is. And as tragic as virtually every character here may seem, it is tough to say who is the worst and least likable by them. I think the mother sure is a contender as she basically only lives through satisfying her new man. And can you make excuses for anybody here? Maybe for Cooke's character because she is really sick and also for how she sacrifices herself at the ending. It's almost tragic how her "friend" rejects her letter then. I could have done without the epilogue as a whole I must admit, but yeah I also did not like the scene of the actual act towards the end as much as I hoped I would, even if the camera on one place not showing anything except the blood on one of the two "heroes" is all we get to see. It's not that bad though either. Overall, it felt a bit hard to believe the idea, especially how quickly she agrees to actually kill the dad compared to how opposed she was initially, but the decision by the parents to send her away is one that only partially explains this change in mind. It's a fairly good character study though when it comes to Cooke's character, how she is way more fragile than she seems and tries everything to please her friend. All in all, not among the very best of the year, but certainly worth checking out. Maybe it is just that my expectations were a bit too high that I did not enjoy the film as much as I hoped I would. I still believe you should check it out, also fairly fitting for a DVD night where it is probably not a worse watch than at the theater. Not a film that needs to be seen on the big screen. And yes, it is much better than the series I am referencing in the title of my review.

Beautiful, empty teenage shells

[dierregi · 4/10 · 21 December 2018]

Amanda and Lily, two teenage upper-class psychopaths are the unlikely friends who plot to eliminate Lily's abusive stepfather. After a meet-not-so-cute, Amanda admits she does not "feel" anything and delivers flatly the story of her mercy-killing of her own horse to Lily.

Lily pretends to be appalled by Amanda's story, but she's just trying to find a way to manipulate Amanda.

Their first plan to "use" a fall guy does not work out as expected, therefore more drastic actions need to be performed.

Glacially shot in beautiful surroundings, this is a movie that definitely does not require or evoke any emotional response. I watched it and, like Amanda, I felt nothing for any of the characters.

PS don't know what is wrong with those reviewers who describe this as a "comedy", because nothing even remotely funny happens.... still, worrying to think some people find a comedic streak in a psychopaths ' tale

And The Real Monster Is...

[ChipperX · 9/10 · 9 March 2018]

Thoroughbreds (2017).

• Chipper F. Xavier, Esq.

Lily (Anya Taylor-Joy) is a spoiled, rich kid in Connecticut, living the good life at home with her mother and step-dad Mark (Paul Sparks). When her former friend Amanda (Olivia Cooke), a social misfit, is in need of tutoring for college entrance exams, the two girls rekindle their friendship and bond over their shared dislike of Lily's step-dad. Unfortunately, Mark blindsides Lily by threatening to send her to a boarding school far from home, and the girls decide to take matters into their own hands, with disastrous results.

Thoroughbreds is clearly a masterpiece - even when it reveals the disgusting viscera which lies beneath the most attractive human beings. Is "pretty" only something we wear? Is "good" a thing we can see? Do the good guys always wear white? Or is our civility really a mask that we put on and remove at will? Cooke as Amanda clearly and expertly challenges our perceptions as the token sociopath, while Anton Yelchin, in his final screen performance as Tim, rounds out the roster of deplorable characters as a statutory rapist and drug-czar-to-teenagers.

But wait - just when you think you know the direction writer-director Cory Finley wants to take us, the plot shifts, and the true monster is revealed. Cooke and Taylor-Joy shine throughout this lushly filmed nightmare as privileged girls who refuse to succumb to the banality of their exclusive lifestyle. Their acting is effortless and convincing, which makes this story all the more insidious. The genius behind this film is self-evident, but like many great works of art, it proves a bitter pill to swallow in the end.

devilishly clever

[ferguson-6 · 7/10 · 9 March 2018]

Greetings again from the darkness. Each year provides us with (at least) a few hidden gems sprinkled amongst the superheroes and newfangled special effects displays, and although this feature film debut from filmmaker Cory Finley is only now hitting theatres, it seems safe to say it likely won't draw the size audience it deserves. If you enjoy dark, twisted, and devilishly clever films, you owe it to yourself to track down this one.

Olivia Cooke (ME AND EARLY AND THE DYING GIRL) stars as Amanda, someone who walks a miniscule line between neurotic and psychopath. The startling and quite ominous opening features Amanda, a horse, and a large knife. Next, and some time later, we see Amanda re-connecting with her childhood friend and boarding school brainiac Lily (Anya Taylor-Joy, SPLIT and THE WITCH) in what appears to be a tutoring session being held in the palatial estate where Lily lives with her mother and "evil" stepdad Mark (Paul Sparks).

What follows is the mind-bending, winding-road of us attempting to fit either or both of these characters into some "normal" category of human behavior. Instead, what lies beneath is slowly unsheathed. As Amanda and Lily interact, we especially come to realize that Amanda is drawing out what's behind the proper front that Lily wears on a daily basis. A plot to murder the stepdad is developed, and caught in the wicked web is Anton Yelchin as Tim, a dreamer and schemer who quickly realizes the trouble these two bring. This was one of the last roles Yelchin filmed before his tragic death. His brief time on screen here reminds us of his immense talent.

An atmosphere of dread and pending doom hovers over most every scene, yet somehow it's simultaneously funny and disturbing. We find ourselves asking if it's OK to laugh at some of the exchanges. As Amanda explains she's "not a bad person", the line makes us chuckle, while also making us realize she actually believes it and we shouldn't! As she teaches her tutor Lily "the technique", we become convinced the line has been crossed into psychopathy.

Suburban Connecticut and its corresponding privileged life has rarely generated more queasy feelings, and with our hope for humanity in the balance, we watch Amanda and Lily bounce from plotting to problem solving and from conspiring to collaborating. The absence of empathy goes beyond disconcerting and into a feeling of resolved fear. The lack of emotions and empathy can be more frightening than vampires or fictional monsters.

Cinematographer Lyle Vincent does nice work displaying this world, and he will always deserve a mention after his sterling work on 2014's A GIRL WALKS HOME ALONE AT NIGHT. The dark, twisted work is well accompanied by the abrupt and jarring music, and filmmaker Finley deserves recognition for crafting this creepy corner of a universe none of us want to join. His film is in the vein of something Yorgos Lanthimos (THE LOBSTER) might deliver, and that's quite high praise for oddity ... in fact, Odin Impetus Lowe even gets a screen credit, and he's the opening scene horse!

A+ on Sound & Visuals, But Painfully Simple Story & Ending

[bleu30 · 4/10 · 11 March 2018]

The visuals, in combination with the sound/music, are spectacular in this movie--probably the best I've ever seen in any movie. A few of scenes are slightly funny (darkly funny), but I would never call this a comedy. Everything else leaves something to be desired.

The ending felt abrupt and left me feeling 'there's got to be more than this to the ending.' The people in the movie theater were sitting through a lot of the movie credits--I think they were doing that with the same thinking, 'really that's it, there isn't more?' Now when I say abrupt, I don't mean that in the traditional sense (where there is, say, a cliffhanger). SPOILER. Here, the main character goes and kills her step-father and frames her no-feelings friend. The idea being that the no-feelings friend has no life worth living. That's it, that's the ending. That's the kind of abrupt I mean.

Disjointed yet predictable, stylish but shallow

[VoyagerMN1986 · 4 March 2018]

I wanted to like this film. But overall it is fairly poor. The only standout is return to "shining" type cam shots and visuals. These were interesting as novelty when introduced 40 years ago, but were dropped from good filmmaking for good reason.

Ultimately this will appeal to filmgoers who like to be manipulated by technique instead of told a story. Even the deus ex machine ending is such a cop out that everyone left the screening shaking their heads.

A Unique Take on the Teen Thriller Genre

[elicopperman · 7/10 · 10 March 2018]

Ever wondered what you would get if you mixed American Psycho and Heathers? Well, this movie Thoroughbreds has answered said question, as new comer writer & director Corey Finley brings an all around unsettling albeit subtly humorous tale of two childhood friends, upper class Lily and sharp witted social outcast Amanda, who debate try to solve each others problems, no matter the cost. Along with a sharp screenplay and well directed moments of suspense, the actors really drive the film with how much depth and motivation they display. The film itself feels like a play from its structure, and it works from how simple and unpredictable the plot is.

Anya Taylor Joy and Olivia Cooke have excellent chemistry together as Lily and Amanda, merely from how they reconnect after years of being apart. Although different personality wise, the subtle humor derives from said contrasts, such as Cooke's dry hilarity and emotionless stature, and Taylor-Joy's conflicting role as a young woman trying to cope with her terrible step-father. Many scenes consist of the two, and while slow at times, they really help make the audience uncertain in how they'll remind friends. Despite that, their friendship is genuine, and while the content is dark, the film surprisingly handles the gruesome parts offscreen. In an age where horror directors try to be shocking for the hell of it, Finley respects the audience enough to keep them disturbed without going too far when not needed.

As for the acting, Anya Taylor-Joy does a splendid job adding in angst and frustration to a rich girl who debates whether she wants to get rid of her step father, and it's great how she gets them out from her interactions with Olivia Cooke who triggers emotional stigmas in her. Also, Cooke feels quite reminiscent to Winona Ryder's Veronica Sawyer from her distraught presence, and even Anton Yelchin (sadly in his last role) practically screams Christian Slater's J.D. from the unanticipated layers within Tim that he delivers. Some of the funniest moments come from his interactions with Amanda and Lily, but even then he shows signs of humanity when getting in their troubled situations. Paul Sparks keeps his role rather nuanced while coming off as condescending and bitter, and it's not hard to root for Lily to get rid of him.

The actual humour is much more subtle than one would imagine, especially compared to the off the wall ludicrousness of Heathers. Where Heathers strove for campiness, Thoroughbreds chooses to keep things subdued and practical, which fits in the realistic tension between the arches between Lily and Amanda. Even the music score by Erik Freidlander comes off as eerie without screaming itself out, as it balances the realistic albeit creepy tone of the film when needed, aided by well shot scenes that add quiet gloominess and tension.

Finally, the film is only ninety minutes long, making it's goal short, sweet and straight to the point. Too many films today run longer than needed, but this movie knows how long it needs and it keeps the momentum moving at just the right length, even if some moments are a little slow. And that's the best way to describe this movie, subtle, slow, and entertaining enough without going too overboard or too long in its tone or length. While not the greatest teen drama, Thoroughbreds offers enough quiet atmosphere, amusing moments, and solid interactions with splendid actors to keep audiences enticed to wonder what will happen. By bringing us into a world of sterile mansions and girls who want to put the law into their own hands to add something new in their life, this film will definitely mark as a solid directorial debut for Corey Finley as he progresses with his tropes and characters to make even better films in the future.

Great Performances But Too Slow

[themovieparadise · 6/10 · 28 March 2018]

It was June 19, 2016 when Anton Yelchin passed away. I remember that being such a sad day for the film community. Yelchin was so young and had so much promise as an actor. Plus, his death was a freak accident, which made it all the more tragic. It was sad to lose such a budding talent, and Thoroughbreds is his last performance on screen. The film follows Anya Taylor-Joy (Split) and Olivia Cooke (Me and Earl and the Dying Girl), who play two teenagers who form an unlikely friendship after having grown apart. They work together to solve both of their problems, which ends up going to some extreme lengths. I tried to stay away from the trailers, so I didn't know too much about the story going on. I love all the actors in it, and I was looking forward to seeing what they would turn in. Thoroughbreds is a solid movie with great performances, though it is a little bit too slow at times for my liking...

What an incredible debut film from Finley

[jtindahouse · 9/10 · 11 December 2018]

Some films you know within moments of them beginning that they are going to be something special. 'Thoroughbreds' was very much one of those films for me. The opening shot containing the character of 'Amanda' looking around a home - something so simply and yet done in such a way that you can't take your eyes off the screen - told me everything I needed to know about the film I was about to watch. And I was right. The next 90 minutes were some of the best cinema of 2017.

The movie is a lot darker than I expected it to be. There is a comedy genre tag attached to the film but it really is in no way a comedy. I think I maybe lightly chuckled twice throughout the film, and both of those chuckles were at some quite dark jokes. The acting in the film is amazing. The two lead girls Olivia Cook and Anya Taylor-Joy were in outstanding form and played a huge part in making the film as brilliant as it was.

The fact that this is a debut film written and directed by Cory Finley is quite incredible. The class with which he made this was well beyond his experience. The music in the film is haunting and absolutely perfectly selected. The dialogue is captivating to listen to. Kevin Smith or Quentin Tarantino could easily have written this film it's that good. In particular the final line of the movie will stick with me for a long time to come. I absolutely loved 'Thoroughbreds' and I couldn't recommend it strongly enough.

How is this a comedy?

[sahmuia · 6/10 · 9 November 2019]

I understand dark humor but this isn't it. It's a decent thriller type movie with some good acting. What I dont understand is the many comments here about the actresses being thin. Is there something I missed about this? Why is it bring brought up so often that both actresses are slim?

Off to the Races?

[aciessi · 5/10 · 13 March 2018]

SPOILER: Thoroughbreds was quite a bit to process for me. On the surface, it's a story about young would-be murderers who are plotting to kill a stepfather in a WASPy Connecticut setting. Symbolically, it's a story about free will and letting go of all inhibitions. Amanda teaches Lily that committing a murder is all about getting away from yourself and focusing on the goal. Throughout the film, they relate it to how Steve Jobs dropped out of college and founded his own computer company. Strange and satirical, for sure. Cooke and Joy are a fabulous duo.

The pacing of the film is even more off-putting. Also, despite being advertised as a comedy, Thoroughbreds is so matter of fact and grim, I couldn't decipher what was supposed to be funny from what was supposed to be dead serious. That was entirely the point, but I found myself scratching my head more than enjoying the nuance.

Imaginative

[Billiam-4 · 7/10 · 25 March 2022]

A teenage crime drama is imaginatively presented as a psychological study of two girl buddies, wonderfully played with understatement by Olivia Cooke and Anya Taylor-Joy, tinged with wry sense of humor.

Yawn.

[emeraldgoddess · 1/10 · 6 June 2018]

I saw some very high ratings of this movie, but I am convinced that the people who left those high ratings are people who were involved in the movie trying to trick more people into watching this piece of trash. I only gave it a star because I had to but honestly it wasn't worth a star at all. I only watched it because I love Anton Yelchin and this was has last movie before his untimely passing.

Quite a captivating story

[Gordon-11 · 11 September 2018]

This film tells the friendship of two high school girls, whose unlikely friendship lead to an unlikely result.

Initially it appears that one girl is antisocial and the other girl is normal, but it is clear from the ending that the seemingly normal girl is actually way more psychopathic than the seemingly antisocial girl. It is a cautionary tale of how people are not always as they appear. I find it a captivating story.

Worth to watch

[ergunbul · 7/10 · 12 March 2020]

I did not have any idea about this film before watching it but I really liked. It s between festival films and American inhouse thrillers.

A mostly satisfying crime movie

[Jeremy_Urquhart · 7/10 · 13 April 2020]

I'm confused about how many reviews here seem to label this a comedy. I won't deny there could be some dark humour to be found here, if you're so inclined, but it didn't feel like a comedy to me. It has a plot and some themes that some may compare to Heathers, but that movie feels does genuinely feel like a comedy to me. This one honestly felt a good deal more serious, and grounded too.

It felt to me like an exploration of mental illness and dark, psychological desires, with one main character who feels too little and another who maybe feels too much, and how they use each other to try and balance themselves out. They bond together and share a dark fantasy which the movie is centred around: a good deal of suspense is milked from the mystery of whether or not they'll go as far as they say they want to.

The two lead performances are both very good, as is Anton Yelchin- I believe this was his final film. He was definitely an actor taken from this world too soon, and even though he isn't the lead here, he shines in the scenes he's given, and it's a good swan song for his strong but all too brief career. He's convincing here as a pathetic, somewhat creepy character who's delusional, but you nevertheless still feel a bit sorry for him.

It takes a little longer than expected to get going plot-wise, but a solid chunk of this movie is really good. The ending left something to be desired for me- while it's not bad, and not strictly unsatisfying, it was a little sudden. Sometimes a sudden ending needs to be thought about for a while before it clicks, but it's been almost a week since I watched this now, and that hasn't happened. It's not awful and it doesn't ruin the movie; more that it might hold it back from being something great, rather than simply quite good.

It's an easy movie to recommend for those in the mood for a dark, tense, psychological drama/thriller. Or I guess if you have a really dark sense of humour, you might find it to be a satisfying comedy like others have?