INGRID GOES WEST
Director: Matt Spicer
Runtime: 95 minutes
Mostlyindies’ grading: B+
Everything you need to know about Ingrid Thornburg, the anti-heroine of Matt Soler’s movie, gets summed up in that excellent opening montage of social media screenshots of an impossibly happy woman going through life while we slowly see Ingrid (Aubrey Plaza), wide-eyed, staring at her phone for what seems hours and hours, clicking on every picture, liking everything she sees whether she really grasps its meaning or not, and then paying the girl a surprise visit. It doesn’t end very well, needless to say, and her slow recovery to a semblance of normalcy leads her away from the object of her unrequited friendship to another one, the sunny Taylor Sloane (Elizabeth Olsen), who sells merch on Instagram.
You probably know where this is heading.
And despite that the story does move in a predictable manner in template only, bringing Ingrid across the country and into plastic LA where everyone is a social media star, you keep expecting for the moment that Ingrid and Taylor will cross paths, because now that we’ve been given a preamble, we have to now see the whole train wreck in slow motion. Soler does not disappoint, bringing these complete polar opposites closer until Ingrid’s quick thinking lands her basically at Taylor’s home for dinner. Just like that, she’s basically hanging with her new friend, sharing secrets while pilfering through her place and reading everything about her in order to emulate her new fixation, not knowing that eventually, the high must reach a ceiling, the mirror will start to show its cracks, and things will be bound to get ugly.
Now, as for the ugly part, I do wish Soler had decided to take his tale into Fatal Attraction/Single White Female territory. Let me explain: it’s not that it doesn’t go there — just when you thought Ingrid couldn’t cross That One Line, she goes and crosses yet another (if she even sees a line, which I believe her character’s disorder doesn’t), the movie goes soft. It’s as if the movie, already at the edge of insanity, would prefer to keep it light and sunny. In turn, Ingrid’s crucial scene involving a phone comes off almost mawkish. Also a bit insincere was the attempt to somewhat bring Taylor down a couple of notches: while her character from the word go is as flighty and insecure as they come — who can live up to the pressure of so much popularity and sunshine without feeling that unless they are what they convey, they’re actually meaningles — she’s not even remotely operating on the same cylinders as Ingrid.
Whatever you make of it, Ingrid Goes West is solid entertainment and a showcase for Aubrey Plaza who has the difficult task of making a hideous psychopath likeable. Also pleasing on the eyes, a small performance by Billy Magnussen who shows off quite a bit and operates as the audience’s surrogate.