Director: Taylor Sheridan
Runtime: 110 minutes
Midway through Wind River, a character roughly says, “This murder is practically solving itself,” and that, my dear friends, is a problem. Taylor Sheridan once again dives into the underbelly of society, but where his incursions redefined the Western in Hell or High Water and danced with horror in Sicario, both films which yielded memorable performances from its shady as heck characters (and a sympathetic one from Emily Blunt, a female FBI agent tossed in the middle of an increasing set of odds in Sicario), Wind River, while correct and serviceable as a crime thriller, never truly manages to find that dark tone that would have made it the standout sleeper of the late summer. It’s a shame because with an action taking place in the desolate mountains of Wyoming in the Indian Reservation of Wind River, there was plenty of material to convey an atmospheric sense of a larger corruption at hand, something truly unsettling.
The best scene is, as a matter of fact, its most disturbing. The film opens to a young woman dashing barefoot through the snow, escaping an unknown danger before she collapses to the elements and passes out of the story, in body. Enter Jeremy Renner, a game tracker separated from his Indian wife, who finds the dead woman’s body and has to team up with the nearest FBI agent sent all the way from Vegas to survey the crime scene, and with her report, justify the need to send out more agents or close the case. When she appears it’s under the form of Elizabeth Olsen, and at first, as it always is in these movies, her presence is, for the locals, meant to be merely perfunctory, a blip in a series of nothings in a place where nothing really happens. However, a correct assessment of the way rhe woman — Natalie — died doesn’t match up despite the coroner’s report. However, the coroner can’t justify homicide. Olsen can’t call for more agents, so it’s up to her and Renner to take matters into their own hands.
I’m going to say that perhaps this is what happens when someone who’s barely directed takes a film as ambitious as this into his own hands in the hopes of delivering a strong product and coming up just a shade short. Wind River is what you’d call a serviceable, above average procedural that takes you from start to end without delving too much in the horror of it all — even the necessary flashback scene that sets the plot in motion feels flat and done without style or any sense of suspense or even terror — but somehow it just didn’t quite go that extra mile to stay in my memory and thus, remains as just another good movie with solid performances by Renner, Olsen, Gil Birmingham, and Jon Bernthal in a small but pivotal role.