thoroughbreds reviews

"A sparingly used and occasionally atonal score from Erik Friedlander further enhances the sense of eerie unease." - Boyd Van Hoeij, The Hollywood Reporter


"...the indelible tone and unique atmosphere to this piece, [is] enriched – and informed – by the excellent score, which keeps the viewer on edge right from the offset, even in times when it would appear there’s no palpable reason to feel tense, but such is the power of music, it’s impossible not to." Stefan Pape, HeyUGuys


"Taylor-Joy and Cooke bring a charged energy to their scenes, that’s well-matched by the unhinged score, which adds a thick layer of prickly anxiety to the film." - Erin Whitney, Screen Crush


"The extremely unsettling percussion-heavy musical score, incidentally, is by Erik Friedlander, the most original film score since the Oscar-nominated 'Jackie'." - Mitch Salem, ShowBuzzDaily


"The quirky, The Witch-like score sets the proceedings at an edge." - Fionnuala Halligan, Screen Daily


"…composer Erik Friedlander sets a playful tone for the developing darkness." - Rob Hunter, Film School Rejects


"This movie is designed within an inch of its life, with a piercing, tribal score that heightens an already heightened atmosphere." - Meredith Borders, Birth. Movies. Death.


"[Cory Finley] directs the hell out of it, making particularly good use of offscreen sound (plus the tense tick-tick-tick of an atonal soundtrack)..." - A.A. Dowd, The A.V. Club


"The sense of unease is further driven by knife-edge editing by Louise Ford (“The Witch”), and terrific sound design that bleeds into the disruptive, percussive score by Erik Friedlander. If directing is in large part about picking the right collaborators, [Cory] Finley’s off to a great start here." - Oliver Lyttelton, The Playlist