Critic Reviews

Working with Lyle Vincent as director of photography, Finley continually offers up striking, emotionally resonant compositions, including a wide variety of inventive two shots in which the leads talk at or simply regard each other. Either actress could command the frame; when they share it, the air between them trembles.

Thoroughbreds doesn’t look or sound anything like other teen-centric movies, but this is hardly a surface-only character study.

Thoroughbreds...has been made with diabolical craft and intelligence, the kind that marks Finley as a major new American talent. But it’s no empty exercise, no mere calling card. The style all comes in service of the central relationship and the superb performances that bring it to bewitching life.

It’s the pair’s bond that helps to make the film more interesting than just a study of wealthy murderousness (though it’s great at that too). It’s also a portrait of female friendship that, despite the dark places it goes to, proves to be oddly touching.

Ultimately it’s Finley’s sleek and stylish visual language that makes Thoroughbred a must-see, and one of the best surprises out of Sundance. He composes his shots with such precision, control, and confidence.

Finley has created a film that feels original and alive.

Thoroughbred is a dark and pointed piece of work that depends on the delicacy with which someone can thread the needle between Hitchcockian suspense and capitalistic venom, and Finley — adapting his own play to the screen — demonstrates a cinematic authority that eludes many filmmakers who have worked in the medium for decades.

What begins as a gleefully nasty piece of work gradually picks up more nuance as it goes, adding dimensions to characters who could easily have coasted on the story’s arched-eyebrow burlesque.

Thankfully, Finley isn’t only adept at writing and directing good dialogue but he also understands how images and sounds can enhance his story.

Some zinging dialogue and pungent photography are complemented by the two young leads and the late Anton Yelchin in support.