FOR Taylor Sheridan Colts Jersey Sale , the West is still alive
with frontier tragedies and genre thrills, even if hopelessness has moved in
and blanketed the land.
“Wind River” makes it a kind of trilogy for Sheridan, the writer behind the
West Texas neo-Western “Hell or High Water” and the Mexican border drug crime
drama “Sicario.” In “Wind River,” he shifts to a Wyoming Native American
reservation and behind the camera, but the atmosphere is still rich and
familiar: big open spaces with misery all around.
Whereas the Oscar-nominated “Hell or High Water” had a bright, comic punch,
“Wind River” is more in the heavily somber register of “Sicario.” When one
father who has lost a daughter consoles another, he advises him to confront the
heartache head-on: “Take the pain.” It’s something of a mission statement for
Sheridan, whose neo-Westerns are filled with deeply burdened men making painful
Sheridan’s latest (his second time directing following the little-seen 2011
horror film “Vile”) is set around the Wind River Reservation in a wintery
Wyoming where, as one character says, “snow and silence are the only things
that haven’t been taken.” The reservation, shrouded in violence, drugs and
poverty, is an ominous place.
It’s there that Corey Lambert (Jeremy Renner) discovers a freshly frozen
body five miles (8.05 kilometers) into the mountains. He is a fish and wildlife
agent who spends most of his time defending livestock by shooting predators
with a rifle. Mountain lions nabbing cattle is what brought him, by snow
mobile, to the remote crime site. The body, an 18-year-old Native American girl
named Natalie (Kelsey Asbille) is barefoot, despite the snow and the cold, and
she’s been raped. Her lungs, Lambert guesses, eventually froze and burst as she
fled from miles away.
The investigation, though, is for the FBI. The agency is so thin in rural
Wyoming that it dispatches an agent from Las Vegas: Jane Banner (Elizabeth
Olsen) who lacks even a good enough winter coat. But Banner quickly shows her
strengths and intelligently conscripts Lambert, an experienced tracker, to aid
The dead girl is revealed to be the daughter of a close friend of Lambert’s
(Gil Birmingham). Birmingham, whose too-brief performance is one of noble
weariness, is one of many Native Americans who populate the cast and lend “Wind
River” both excellent acting and ethnic authenticity. When the police visit the
family’s home, they find a broken household. An opened door reveals the
guilt-ridden mother bloodily slashing at her wrists. The door, bizarrely, is
Though Sheridan’s control of the tale is, up until now, fairly total, the
sense that he is overplaying his hand begins to set in. He keeps opening doors
and closing them too abruptly. The detective work continues, at first angling
toward nearby drug-dealing tribesmen. But Lambert’s past (he is the father, now
divorced, who also lost a teen daughter) is where the film gradually centers
its emotions, and Renner, gives one of his finer performances.
But instead of plumbing deeper into the lives of those on the reservation,
the gripping, solidly built “Wind River” begins to go wayward in its tracks.
The over-the-top showdown finale comes largely out of the blue after clues lead
Banner to a nearby oil digging crew. “Wind River” turns into a revenge tale
where we only meet those worthy of vengeance just as their time is up. And, as
in “Sicario,” women characters like Banner are welcomed into Sheridan’s film,
but are steadily edged out.
Still, no one will confuse “Wind River” for anything slipshod. Its densely
colorful dialogue and powerful sense of place make Sheridan a singular talent,
with, hopefully, more directing in front him.
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