Starring-Olivia Cooke, Anya Taylor-Joy
Scott’s Review #880
Reviewed March 26, 2019
Thoroughbreds (2018) is an independent dark comedy with snippets of creative film making and an intriguing premise that loses steam towards the conclusion, closely mirroring too many other similarly themed indies. An enjoyable geographical setting but lackluster monotone dialogue never allows the film a mind of its own and is therefore deemed unmemorable. The lead actors are fine, but the experience lacks too much to raise the bar into its own territory suffering from an odd title that has little to do with the story.
Lily (Anya Taylor-Joy) and Amanda (Olivia Cooke) are former childhood friends whose differing popularity levels have severed their relationship over the years. When Amanda’s mother pays Lily to socialize with Amanda under the guise of tutoring her, Amanda catches wind of the plot and confronts Lily. This event brings the girls closer and in macabre fashion they begin to hatch a scheme to plan the death of Lily’s stepfather, wealthy Mark (Paul Sparks) whom she perceives as abusive. It is revealed via flashback that Amanda euthanized her crippled horse to spare his suffering which resulted in animal cruelty charges.
The setting of affluent Fairfield County, Connecticut, presumably wealthy and snobbish Greenwich is a high point of the film and an immediate comparison to the 1997 masterpiece The Ice Storm. Bored rich kids who perceive themselves to shoulder all the world’s problems, while subsequently attending the best boarding school’s imaginable is delicious and a perfect starting point for drama and intrigue. Lily’s domineering stepfather and her passive and enabling mother are clever additions without making them seem like caricatures.
The dynamic between the girl characters is intelligently written and believable especially as they crack witty dialogue between each other. Lily is academic and stoic, humorously said to suffer from an unnamed condition that results in her being unable to feel or show any emotion. Amanda is the perfect counterbalance as she is sarcastic, witty and serves up one analytical observation after another. From a physicality perspective, the statuesque Lily is believable as the more popular of the two and the perceived leader.
As the girls elicit the participation of local drug dealer Tim (Anton Yelchin) into their plans, at first voluntary and ultimately by blackmail, the plot takes a turn for the formulaic and the redundant. The setup seems too like a standard dramatic story arc and becomes cliched as the once willing participant is subsequently thrust into the scheme. There are no romantic entanglements between the three main characters and subsequently leaving no characters to root for either, one strike to the film.
Otherwise, the “been there, done that” monotone dialogue has become standard in dark comedies so that in 2018 the element seems dated and a ploy to develop offbeat characters. Director Cory Finley borrows heavily from fellow director Wes Anderson (The Royal Tenenbaums-2001 and Moonrise Kingdom) in this regard so that the freshness of the characters and story wears thin mid-stream.
The title of the film could be better as a quick scene involving Amanda and a horse in the beginning and a brief mention of horses envisioned in a dream by one character is all there is about the animals. I expected more of an incorporation between animal and human or at least a more poignant connection. The privileged lives of Lily and Amanda seem the perfect correlation to brings horses into the central story in a robust way.
Finley is on the cinematic map, crafting an effort that proves he possesses some talent and an eye for a wicked and solid offering. Thoroughbreds (2018) represents a film too like many others in the same genre to rise to the top of the pack but is not without merits and sound vision. It will be interesting to see what this up and coming director chooses for his next project.