Renner Is Worth The Ticket

Taylor Sheridan is a screenwriter who captures elements of the zeitgeist of contemporary America. In 2015’s “Sicario,” it was the continuing drug war on the U.S.-Mexican border, while in 2016’s gritty, mesmerizing “Hell or High Water” it was the desperate actions of two brothers hard-pressed for money in the post-recession Texas Panhandle. 

Now Sheridan has moved far north to a frozen Indian reservation in “Wind River,” which he both wrote and directed. Wisely, he has cast Jeremy Renner (“The Hurt Locker” and Marvel’s Avengers films) as his laconic star. Renner plays Cory Lambert, who works for the U.S. Fish and Wildlife Service tracking predators on the Wind River Reservation, 2.2 million acres made for Eastern Shoshone and Northern Arapaho Native Americans. Its winters are bleak, the ground frozen all season. Its towns are equally bleak, full of unemployed people, hopeless poverty, meth addiction and alcoholism.

One day while tracking, Cory finds the body of an 18-year-old native girl (Kelsey Asbille), who has been raped and murdered. The suspicious circumstances lead the tribal police chief (an excellent Graham Greene) to call the FBI, which shows so little interest in the reservation that it sends a rookie agent named Jane Banner (Elizabeth Olsen) from Las Vegas to investigate. She quickly realizes she is out of place in a community that mistrusts the federal government (Sheridan shows an upside-down American flag at the entrance to Wind River early in the film) and in dealing with the case. She must rely on Cory as her de facto partner.

The film is based on a true story as Sheridan informs us at the beginning; later he tells us that missing persons are not tracked in native communities. That seems to be the organizing theme of “Wind River,” and sometimes it is both obvious and creaky. For two-thirds of the film, “Wind River” is a fine, character-driven investigative procedural; in its final third it loses its dry sense of truth and veers into pulp territory with a tension-filled showdown, a gruesome flashback and a final act of horrifying vigilantism. You feel no relief, no resolution. The movie just ends.

Still, “Wind River” is full of fine performances. Renner inhabits Cory as comfortably as the winter parka he wears. Olsen, despite making you wonder how her eyes always look perfectly made up, is quite good in an underwritten role. Ben Richardson’s camera captures striking images of frozen beauty, and the musical score is a sort of whisper from Nick Cave and Warren Ellis.

But it is Renner you go to see. With his oddly ordinary but expressive face, he deserves more roles like this: serious, thoughtful, memorable. And starring.

 

“Wind River” is rated R for strong violence, a rape, disturbing images and language.

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