Thoroughbreds

A maladjusted teen, recently expelled from boarding school, despises her severe step-father, a man's man who would rather command than converse and instantly turns brutal if you question his decisions.

Another maladjusted teen, a sociopath in fact, is tutored by the aforementioned, although Lily (Anya Taylor-Joy) has really been hired to function as only friend and confidant, a well-meaning parental decision, that may vindictively prove fatal.

They don't consider killing each other, but after Amanda (Olivia Cooke) encourages Lily to honestly express her contempt, the dark side descends with maniacally pure unaccountability, the two revelling in their vicious designs with cold calculated temerity, proceeding ever more closely towards their goal, absolutely unconcerned with ethics or fatigue.

Malicious young Sith.

Irreverently resolved.

The planning of the murder works well.

It's difficult to generate sympathy for their adversary (Paul Sparks as Mark) and their plans themselves are rich with cinematic intrigue.

The music and settings add contemplative depth which harrowingly develops a computerized sensitivity thoroughly lacking in emotional connections, apart from mutual desires to talk with others, and a base instinct to punish anyone who restricts freedoms.

There's no well reasoned opposition to their plans, however, except for an isolated moment during which the subject of their murderous rage logically expresses his concerns, after placing them within an historical context.

The douchiness fades for a brief sharply contrasting moment.

Before stubbornly returning.

The sociopath even acknowledges his rationality although that doesn't mean she's not still prepared to savagely orchestrate his demise.

Okay, their both sociopaths.

Mark's likely a sociopath too.

With a more well-reasoned opposition to their plans, some doubts at least, the second half of the film would have been more compelling.

The first skilfully lures you in with a chillingly haunting mix of psycho comedy and dark psychology, like Thoroughbreds was crafted to flip the bird to raunchy teen melodramas like American Pie.

It does this well.

But without the alternative voice during the second half, apart from flailing Tim (Anton Yelchin [what a tragedy]), who seems to have been proactively included to remind adolescents to stay in school, the psycho is laid on too thick, and although it's still well done, a great film, more well rounded argumentation may have transformed it from an indie nightmare into a crucible of malevolence.

They should have gone through with it either way.

If an alternative viewpoint had been substantially introduced, and they hadn't gone through with it, it would have been much lamer, most of its shocking edge having been dulled.

Preferred it to Compulsion (1959).