REVIEW: ThoroughbredsBy Bri ManzanoMarch 11, 2018Lily (Anya Taylor-Joy) is stylish, stunning, and as spoiled as they come. The only thing separating her from the perfect education plan, though, is her cold and vicious stepfather, Mark (Paul Sparks). She tolerates him, letting her hatred for him fester, until she reconnects with long-lost middle-school friend Amanda (Olivia Cooke), who exists entirely detached from natural human emotion and simply suggests they kill him. Lily doesn’t need much convincing.

I’ve heard it said that camerawork which draws attention to itself, even if it’s excellent, defeats the purpose of camerawork in general. But Thoroughbreds’ camerawork only draws attention to itself because of the shoddy editing that is so prevalent in today’s films. The film’s aesthetic is chilling, in both senses of the word - it is taut, haunting - and it gave me chills. The good kind. The takes are long; there’s a lot of following, walking and waiting. It creates a deliciously suspenseful air and - oh - what a payoff.

Anya Taylor-Joy continues to solidify her reputation as a rising star, but Olivia Cooke is the main attraction in Thoroughbreds. Her Amanda is striking, shameless, and unforgettable. Anton Yelchin gest more of an emotional response than either of the leads, but that’s the point.

Yes, it is slow. If that’s not your thing then you won’t like it. But if you’re awake and you enjoy an effective, gorgeously shot and edited, well-performed film, you’re going to love it.

Rating: 8.8/10
Favorite scene: Long takes are murder.
Least favorite scene: Poor Anton Yelchin.

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