Directed by:
Taylor SheridanScreenplay:
Taylor SheridanCinematography:
Ben RichardsonCast:
Jeremy Renner, Elizabeth Olsen, Graham Greene, Jon Bernthal, Julia Jones, Gil Birmingham, Kelsey Asbille, Apesanahkwat, Martin Sensmeier, Hugh Dillon (more)VOD (3)
Plots(1)
From Taylor Sheridan comes a gripping crime thriller set in the unforgiving snow plains of Wyoming. Elizabeth Olsen stars as a rookie FBI agent tasked with solving the brutal murder of a young woman in a Native American reserve. Enlisting the help of a local hunter (Jeremy Renner) to help her navigate the freezing wilderness, the two set about trying to find a vicious killer hidden in plain sight. The closer they get to the truth the greater the danger becomes with a town full of explosive secrets ready to fight back. (STX Entertainment)
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Reviews (19)
Wind River is a very chilling thriller set in Wyoming. Jeremy Renner (who incidentally is slowly turning from action hero to Oscar-winning actor), plays an excellent tracker and hunger who, together with an FBI agent played by Elizabeth Olsen, investigate the death of an Indian girl. Cool setting, Indians, great acting, a decent amount of suspense, heightened emotions and escalating atmosphere culminating in an impressive shootout, which is undoubtedly the best scene of the film. If it wasn't for the slower opening I would have gone even higher with the rating. Anyway, a solid affair from an unusual setting. The final monologue underlines the strength of the whole film. 80%
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A crisp, snowy crime movie with a chilling veneer. In the middle of the wilderness, hunter Cory Lambert finds the body of a raped Indian girl whose lungs burst in the frost. Who is responsible? The story is simple, but its strength lies in details. Elaborate, lifelike characters (typical Renner) and an atmosphere of ruin hides behind every footstep in the snow. The slow tempo suits the story perfectly. Recriminations, heart-searching, strong emotions. Action is fairly scarce, but the finale shootout is worth it. Very happy. P.S: A perfect explanation for why to be wary of seemingly friendly drunks.
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The Indian reservation of Wind River is not a place that you would choose for a pleasant luxury vacation. It is an inhospitable, sparsely populated place far from civilization, where only those who have no other choice or those who do not need much in life and do not want much from it live. The discovery of a raped Native American girl's body brings together local predator hunter Cory and inexperienced FBI agent Jane. The subsequent investigation can be considered a counterbalance to crime thrillers based on effects and shocking plot twists. It is an intimate story full of weight, bitterness, and melancholy. Although I did not find in it the promised "mystery," the majestic nature of the freezing mountains and the slowly dosed tension was more than enough for me. Taylor Sheridan is primarily a screenwriter, and it might have been better to look for a more established name for the director's position, but it is not that crucial. Rather, I would like to emphasize again: do not expect anything relaxing, this is an adult drama with a slower pace and without clever screenwriting tricks, built on acting performances and tragedies of ruined human lives. Wind River is a film that you don't necessarily have to see in movie theaters, but you shouldn't miss it. It is an above-average genre film that may not elicit a burst of superlatives from most viewers, but it reliably does its job. Overall impression: 75%.
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As a director, Taylor Sheridan is looking to find his own style and optimal storytelling rhythm, but as a screenwriter he excels once more. As in Sicario and Hell or High Water, he creates another rough space that seems to exist outside of our reality. And just like in Sicario, he brings a somewhat naive woman into it who needs a guide and initiators to survive here. This means that an orthodox supporter of feminism will not find what they are looking for in Wind River. Wyoming in this film is above all a place for mourning, despair and vanishing traditions, a snow canvas of misery and surrender, a land of hunters and trackers, in which women disappear without a trace. Sheridan incorporates a personal story of reconciliation into the detective-thriller, about the acceptance of a world in which "happiness lives in cities" and people outside of them have at most enough time to mourn and fall into despair. Jeremy Renner is admirable, economical as a hunting beast, and vulnerable when he loses the scent. This is the best performance of his career, I have no doubt about that. Sheridan is slowly preparing the background for the last act, which does not culminate in a shootout or harsh retrospective, but a final dialogue in which everything essential is hidden. It’s about people who live on the land that has been stolen from them losing their bond with their ancestors. They have no vision of a better future, only the sorrow that needs to be accepted. Wind River is a melancholic film-portrait of a place, a more action-based genre version of Manchester by the Sea. Sheridan writes words, landscapes and characters that touch me deeply. It’s an eternal pity that the Czech viewer will not get to see Wind River in the distribution...
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As expected, Sheridan presents himself as a significantly better screenwriter than a director. Even so, he is not ridiculous in his new role, he certainly does not spoil anything (he even delivers good performance), but surprisingly he cannot take full advantage of the possibilities that his own topic provides him with. And where it is more than obvious it´s the work with the environment. Where Villeneuve/Mackenzie (and I'd bet Sollima too) work with the sketched environment of arid depopulated plains as an integral part and reflection of the soul, almost the main character, so all the whining of the freezing wind, the crunching of snow under snowshoes and endless freezing distances do not fulfill this role to the extent that would be appropriate. In the beginning, they do (and in a captivating way), but it then it seems that he said to himself as if he has already given too much space to it, and in the second half he takes the ruthless landscape and its role for granted. And this is an unjustifiable mistake for a this kind of movie. Otherwise there is nothing to complain about. It's exactly the dense minimalist taciturn "McCarthy" supra-genre rough old-school contribution with an overlap building on the magnificently profiled characters that one would expect from Sheridan.
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