Also known as: Thoroughbred (festival title)
Release Date: January 21st, 2017 (Sundance)
Directed by: Cory Finley
Written by: Cory Finley
Music by: Erik Friedlander
Cast: Olivia Cooke, Anya Taylor-Joy, Anton Yelchin, Paul Sparks, Francie Swift
June Pictures, B Story, Big Indie Pictures, Focus Features, Universal Pictures, 92 Minutes
“You cannot hesitate. The only thing worse than being incompetent, or being unkind, or being evil, is being indecisive.” – Amanda
I’ve been wanting to see this for about two years, after reading about it following its premiere at the 2017 Sundance Film Festival. It was said to be “smart”, “quirky”, “unpredictable” and a mashup between American Psycho and Heathers.
It really isn’t any of those things, unfortunately. Okay, maybe it has a small dose of Heathers mixed in but it certainly doesn’t come close to the darkness one experiences in watching American Psycho.
I also didn’t find it to be “smart”, “quirky” or “unpredictable”.
I don’t want to take a big shit on this film, as I did moderately enjoy it and bits were amusing. Plus, I thought Anya Taylor-Joy and Anton Yelchin’s performances were terrific.
I just couldn’t buy into Olivia Cooke’s Amanda with her emotionless, dead pan delivery. I get that this is what her character is supposed to be but she doesn’t truly commit to the bit. You see, even though she isn’t supposed to care about anything, she is still conveniently driven by things in a way that seems to betray her own character.
Cooke’s Amanda was the apathetic angsty teen that acts overly depressed and always talks about it, probably for attention at first but somewhere along the line has bought into her own bullshit. I’ve dealt with major depression my entire life and people who act like her are typically attention seekers, even if they are legitimately broken. But I don’t think she was intended to be portrayed that way, I feel as if the director/writer actually bought into her bullshit too. But I guess that really just makes it his own bullshit.
Amanda is not quirky. She also isn’t smart. And as far as the plot goes, it isn’t unpredictable, it is actually very predictable. From the get-go, you know there is going to be a dark twist of some sort by the end and you also know that the stepfather will die somehow. But when that twist comes, it’s not all that shocking or surprising, it just limps its way into the narrative and all the ultraviolence that should come with something that’s compared to American Psycho, happens off screen.
I’m not saying that gore was necessary for this film to work but this was tame when compared to the things that modern critics have associated it with.
The big scene where the shit hits the fan is comprised of a still longshot that lasts a few minutes, as Amanda is passed out on the couch and you hear a loud, violent commotion upstairs. It’s a trope that’s been overused by indie filmmaking darlings for decades and its mostly lost its effectiveness. Or maybe I’ve just watched too many movies over the years.
But the point is that there is nothing new here and the promised shocks and surprises limp into the plot like a rat stuck to a glue trap.
Thoroughbreds isn’t a terrible motion picture but it is an underwhelming and disappointing one. It’s only real saving grace was the performances by two of its top three stars.
Pairs well with: Heathers and Jawbreaker.