Thoroughbreds: Does having no emotion make you a bad person?

The clever psychological thriller from Cory Finley marks his directorial debut. What started life as a play still has a strong theatrical feel, which is evident in the strong focus on character development and dialogue driven action.

Don’t be fooled by the polished teens and grand setting though – this is not another blasé critique of American economic privilege. Instead, it explores human nature, stripped of empathy. Core to the story are teens Lily (Anya Taylor Joy) and Amanda (Olivia Cooke), estranged friends who are seemingly forced together by Amanda’s mother.

The scene where Amanda confronts Lily about being hired by her mom to hang out with her is told through short, clipped dialogue – something that continues throughout to set a sense of menace that underscores the film.

The emotionless Amanda is almost sinister when contrasted to Lily’s poised, controlled emotional responses. As the film progresses, the characters change in response to their actions and choices.

Truly, this is a story about some really awful people

The rather Hitchcockian-feel to this thriller sets the tone for the murder plot devised by the teen-duo of Amanda and Lily.

They set out to murder Lily’s wealthy, overbearing, generally-all-round-not-a-nice-guy stepdad. Amanda, who has been charged with animal cruelty after brutally euthanising her injured thoroughbred racehorse, mentions that suspicion would fall on her should the stepdad die under less than natural circumstances.

The girls initially devise a murderous scheme, which involves blackmailing a local drug dealer, Tim (Anton Yelchin, in what would be his final role). When Tim doesn’t carry through, the girls decide that no further contact with him is necessary as he’s facing criminal charges and will not go to the police.

Finley’s ability to dwell on the deep psychological drives of each character makes compelling viewing. The contrast between what’s expected and their hidden natures adds a layer of depth to each character. Tim, who is supposed to be the “bad guy”, possibly shows the most sympathy. Amanda, who is incapable of experiencing emotion, is used as a pawn. And Lily, who’s visibly emotional reactions to Amanda, is possibly the most dangerous character.

The use of wide-screen shots throughout work well to heighten the drama, while the score and dialogue complete the noir-feel. The nuanced acting brings a level of depth and complexity to the characters, making up for the straightforward uncomplicated plot. While the story is a little predictable, you do still want to keep watching – not just to see what happens, but to see how it happens.

The film keeps you riveted to see how each character is affected by their decisions, and how this changes them.