Wind River (Sheridan; 2017)

The Western as a film genre pokes its head out every now and then every few years, but it’s been done as a regular Hollywood staple for roughly half a century.  For the past three years, however, Taylor Sheridan has been slyly bringing the genre back with a modern twist.  The Western takes on many forms, but it always takes place in the American West, of course, and it focuses on white men taming a frontier they are new to.  Once white civilization has taken over a territory, the film focusing on that place can no longer be called a Western.  Taylor Sheridan’s films all take place in rural Western communities, the twist being that these communities are in areas which have long since been tamed, but they are now largely overlooked.  In his film debut as a writer (Sheridan has been an actor for a long time) he gave us Sicario, the modern take on the Federales vs Banditos Western.  The next year he gave us Hell or High Water which is the modern retelling of the sheriff vs outlaws story.  Now, he writes and directs the classic cowboys and Indians Western, Wind River.

Wind River‘s central character is a Department of Fish, Game, and Wildlife agent named Cory Lambert played (Jeremy Renner).  He describes his job as hunting predators, and while doing his job hunting down a trio of mountain lions who killed one of his father-in-law’s cattle he comes across the body of a young girl from the nearby Wind River Reservation where his father-in-law lives.  After notifying the authorities, Cory finds himself working with the reservation’s Police Chief Ben (Graham Greene) and young FBI agent Jane Banner (Elizabeth Olsen, which means, yes, Hawkeye and Scarlet Witch are the two main characters in the film).  Jane is new enough to the FBI that she doesn’t really know how to handle the situation, but smart and self aware enough to realize this and convinces Cory to work the case with her by asking him to help her by doing his job and hunt down a predator.  It seems Cory has personal reasons to help, as well, and solving the murder mystery becomes the driving force of Wind River‘s plot, if not really the heart of its story.


In Sicario Sheridan tells a story in which the law are just as corrupt as the criminals they are hunting, and the only difference between the two is who is pulling the organizational strings.  Hell or High Water shows us the banks being robbed are far more immoral and dangerous than the criminals doing the robbery, and even those on the side of the law are aware of this.  Wind River gives us a brutal metaphor which barely even counts as metaphor due to its lack of subtlety of how white civilization has treated the Native Americans since they were conquered and forced onto reservations.  He is intelligent enough to not make matters so black and white (no pun intended) than one side is completely sympathetic and the other completely despicable, but this modern cowboy and Indians story shows what affect 100 years plus of brutality and neglect by one group to another can have on the group on the receiving end of said neglect.

Sheridan’s script is up to his normal insanely high standards.  In addition to a plot which is gripping and meaningful he also serves up authentic but still engaging dialogue.  His metaphors will be a bit too much on the nose for some tastes, however, I don’t think the thematic elements of a story have to be subtle to be effective, and here Sheridan makes sure you can’t ignore his message.  The characters he creates are never stereotypes nor generalities, and that is still the case here as he gives us real three dimensional people with pasts which resonate strongly through their goals and actions, and he makes sure we understand why even the most despicable among them, and he gives us some of his most despicable characters to date in Wind River, act the way they do.


The direction, however, is not up to the usual near perfection of a Taylor Sheridan film as Sheridan himself decided to direct this one and not hand off the reins to someone else, and while he is an excellent apparently natural talent, his lack of experience does show in a few areas.  The pacing is a bit off at times, showing that Sheridan most likely had a hard time editing himself, a very common mistake made by writer/directors.  The camera work, too, is on the basic side as conversations between people tend to devolve into scenes where the camera shoots whichever character is speaking at a mid-distance, then switches to the other person when they speak, and back and forth until the conversation ends.  Some of his shots of nature, however, can be quite spectacular, and the contrast between functional but dull and beautiful can actually add to the pacing problems felt from the not perfect editing.

The acting is also excellent for the most part, with most of the actors doing justice to the excellent script.  The minor roles, however, can be performed amateurishly breaking the story’s flow at times when a performance not quite up to the same snuff as the others stands out.  Still, if a character has a name, then the actor portraying that character is excellent, and this may in fact be the best performances of both Renner’s and Olsen’s careers.


Final verdict:  Taylor Sheridan gave us one of the best films of 2015 and of 2016. and so far Wind River is absolutely one of the best films of 2017, though it is just a bit more flawed than his previous two efforts.  Sheridan has proven himself that he is one of the greatest working screen writers, and while it is only a matter of time before he wins an Oscar if he keeps going at this rate, this year will not be the one.  Wind River does not quite reach the must see status of Sicario and Hell or High Water, but it is still absolutely fantastic, and I will bump it up to must see status if you, like me, find great writing to be the best element of film making.  No matter your general tastes or inclinations, though, Wind River is an amazing film that should be seen, it just may be worth waiting until you can rent it to do so.



Arrival (Villeneuve; 2016)

Not to be confused with any of the films named The Arrival (a whole group of films, none of which are of any particular noteworthiness), Arrival is a new film from the director of last year’s Sicario, Denis Villeneuve, and with a screenplay written by Eric Heisserer who is known mainly for remakes and horror films previous to this, notably the excellent Lights Out earlier this year, and all based upon a story written by Ted Chiang called “Story of Your Life”.   These names are all important, not just because they are the people primarily responsible for giving us an absolutely fantastic and profound work of art, but also because you will be hearing them again come a few months during movie awards season, most likely.

Arrival stars the nearly always amazing Amy Adams as Dr. Louise Banks, a professor of linguistics and part time translator for the U.S. Military.  Her class is interrupted one day by the announcement that twelve alien ships have set down over 12 different parts of the globe, then her entire life is interrupted when Colonel Weber, played by Forest Whitaker, shows up at her office to take her to the Montana landing site so she can try to communicate with the aliens.  These two along with scientist (of unknown specialization) Ian Donnelly, played by Jeremy Renner, are the focus of the film’s plot which revolves around sorting out why the aliens are here, how they communicate, and why they sent twelve ships to twelve different places.


And, why they have such stark sensibilities where room decorations are concerned.

There is so much good to say about the movie, let’s start with the bad, or in this case the only okay, because that can be gotten out of the way rather quickly.  While the camera work in this film is very good, and at times downright artistic, the art direction otherwise is quite bland.  There is next to nothing to the alien craft, the army base, the college, nearly every location in this film is bland and uninteresting.  This could be a budgetary concern, or perhaps a choice to focus more on the characters and the plot rather than on what is surrounding them, but whatever the reason it really can be an ugly film to look at.

The second, and only, other real flaw is that Arrival’s pace tends to be a very slow one.  Again, this is probably a conscious choice as this is a very cerebral movie focused on theme, dialogue, and character rather than on action, but if you were looking for pure entertainment or were thinking this would be more of an alien invasion type film then there is a good chance you will be bored, at least until the fantastic story starts dragging you in despite yourself.


You will see a lot, and I mean a lot, of this.

If neither of those factors are deal breakers for you, though, then you are in for one hell of a treat.  Arrival is a film that had me openly crying within the first five minutes, fascinated me intellectually for nearly the entire running time, and had me utterly flabbergasted in the best way possible once I understood the aliens’, and therefore the film’s, ultimate message.  It was presented perfectly, every bit of the theme was also tied to the major plot points, so that it was revealed to you piece by piece and you actually learn and discover the lesson rather than having it spoon fed to you.  This is not new, a great many of the best movies accomplish this, which would be what makes them the best movies, but what is new is the way the entire lesson is wrapped up with the teaching of linguistics and the difference between learning a language and really understanding how we communicate, which while not the ultimate message of the film isn’t a bad theme at all in its own right.

Arrival is a must see film for all but the most anti-intellectual of us out there, the type who normally wouldn’t read a movie review, so if you are reading this then I say you absolutely must catch this one as soon as possible.    When leaving the theater after Arrival, I honestly felt like a slightly different person than the one who walked in.  I felt I knew more about the world around me, but more importantly was more aware of how much more I needed to learn.  People complain that there are too many remakes, reboots, stupid action films, and mindless entertainment films out there today, so it would be a tragedy to not let Hollywood know that Arrival is exactly the kind of movie we need more of, one that is intellectual, profound, and transformational.

Rating:  8.6 out of 10