Aubrey Plaza needs more dramatic work. #Ingridgoeswest.
Plaza plays Instagram stalker, Ingrid. After a stint at a mental hospital, Ingrid becomes obsessed with Instagram model Taylor Sloane (Elizabeth Olsen) and moves to Los Angeles, stalking Taylor in the process. They become friends (Taylor’s oblivious to Ingrid’s behavior), but what happens when Taylor’s punk brother Nicky (Billy Magnussen) enters the picture? Also, who’s really the villain?
Ingrid Goes West starts as a sharp, darkly funny satire. With its jabs at hipster culture and avocado toast, I found a few good laughs. I also was blown away by Plaza’s brave performance as Ingrid. She’s funny, scary, sad, and brutally honest.
Ingrid is a complex character ; an unhinged person who wants what we all want – happiness. Can we blame her for leaving behind her old life for a better one in California? Despite the wrong reasons, no.
Olsen also turns in another great performance this year (check out her work in Wind River). As Taylor, Olsen plays the phony celebrity gracefully. Taylor’s friendship with Ingrid is one-sided and we can see that Taylor only hangs out with her for her own benefit. We root for Ingrid since she’s too delusional to see Taylor’s true colors.
The satirical edge fades in the second half as Ingrid Goes West turns into a standard romantic comedy. Give me less of Ingrid’s relationship with the Batman fanboy Dan (O’Shea Jackson Jr.) and more of the psycho thriller/dark comedy moments. Dan starts as a sweet, quirky love interest, but after the millionth Batman Forever reference, I got bored of their romance.
Ingrid Goes West briefly returns to its dark roots in the final act with a strong message on social media and loneliness. It’s just unfortunate that it went off the rails in its uneven second act. Regardless, I still recommend Ingrid Goes West for Plaza and Olsen alone.
By the time Taylor Sheridan’s (writer of Sicario and Hell or High Water) Wind River concluded with an informative caption, I was devastated. Sheridan writes and directs a brutal modern-day Western about a subject that needs our attention.
US Fish and Wildlife Service agent Cory Lambert (Jeremy Renner) finds a murdered teenager in the Wind River Indian Reservation. Rookie FBI agent Jane Banner (Elizabeth Olsen) is assigned the case and is unprepared for the harsh weather and violence that await. With Lambert’s help, Banner hunts for the killer. Lambert, however, has his own reasons for taking the case.
Wind River has taken the title of 2017’s feel-bad movie (who would have thought Detroit would be dethroned?). I haven’t seen any other film this year that’s either as provocative or visceral as Wind River. Sheridan is on a role with the cynical and grim Westerns.
While Sicario was nihilistic about the war on drugs and Hell or High Water about banks, Wind River isn’t nihilistic. It’s brutally honest about missing Native American women and how there are no statistics. No one knows how many are missing; this is a fact that floored me.
MILD SPOILERS AHEAD!!!
Lambert takes the case as a form of catharsis. His daughter has been missing (and possibly dead) for years and he aids Banner to help exercise his aggression. Lambert doesn’t hold back his rage during the climax, resulting in some shockingly violent moments. Renner delivers a taut performance as Lambert; he’s a likable-yet-troubled cowboy overwhelmed by pain. With one beautifully written monologue about grief, Renner is a guaranteed Best Actor nominee.
Olsen plays Banner with a certain level of innocence. She isn’t afraid to draw her weapon or take charge of the situation, but it’s obvious that this is her first homicide case. This is emphasized in the final act when she breaks down over the case’s grisly outcome.
Wind River is Sheridan’s sophomore directorial effort. While his aesthetics are slightly uneven (using voiceover narration in the prologue and title cards in the epilogue), he is one to keep an eye out for. His poetic screenwriting, dark commentary, and use of violence make him a standout auteur.
The key to making a good biopic about a troubled icon is to show why they were so troubled. “I Saw the Light” doesn’t follow this one rule whatsoever.
We follow Tom Hiddleston as the legendary country music star, Hank Williams. It’s an exploration through his short-lived success, two marriages, and A LOT of booze and painkillers. We see glimpses of Williams’s insecurities, back pain, and semi-manic behavior without any idea of what to make of it.
“I Saw the Light” was originally scheduled for release for Oscar season last December, but was delayed due to a booked release schedule. This would have been 2015’s one Oscar-bait movie that missed all its marks.
Hiddleston is semi-entertaining as the drunk and easily amused Williams, showing off solid singing skills (he did all of his own vocal work in this movie). Elizabeth Olsen plays Hank’s wife Audrey, who’s often critical of Hank’s lifestyle and constantly threatens Hank with divorce. Her performance is fine, but I wish the writing for her character was more than redundant nagging. We don’t get to know anyone else but them, by the way.
Writer/Director Marc Abraham gets caught up in Williams’s debauchery and abusive behavior (he nearly shoots Audrey in one scene), but there isn’t a flashback, line of dialogue, or any indication of what made him such a terrible person. It feels like Abraham read the Hank Williams biography, highlighted his favorite moments, and decided to just film those without context.
After seeing “Batman v. Superman” last week, I wondered if movies could get more disjointed. Abraham beat Snyder in that category with this Cliff Notes mess.