Trailer - https://www.youtube.com/watch?v=TjqHn6_LhGo
https://variety.com/2017/film/review...ew-1201966106/
Not every great screenwriter has what it takes to step behind the camera and direct a movie (most of them, in fact, probably don’t have it). Yet every once in a while, a gifted screenwriter comes along who seems destined to take that leap. There was a lot of anticipation at Sundance before the premiere showing of “Wind River,” the first movie directed by Taylor Sheridan, who wrote the brilliant screenplays for “Hell or High Water” (2016) and “Sicario” (2015)
“Wind River,” a murder mystery set on a Native American reservation that’s nestled in the wintry desolation of Wyoming, continues those obsessions. If you think that in the last few decades, the humanity has been leaking out of Hollywood filmmaking — some would say that it’s been hemorrhaging; others would say “Who cares?” — then it’s possible that no genre incarnates that decline quite like the thriller. Just say the word — thriller — and you think: Action! Guns, fights, heists, car chases. But in “Sicario” and, especially, “Hell or High Water,” Sheridan caught something debased and valiant, desperate and mournfully compelling in the sight of recognizable people caught up in the larger-than-life world of crime. In “Wind River,” he pushes that further, so that the scraggly human side of the drama is now far more potent and tangible than the underworld drive.
https://variety.com/2017/film/review...ew-1201966106/
Not every great screenwriter has what it takes to step behind the camera and direct a movie (most of them, in fact, probably don’t have it). Yet every once in a while, a gifted screenwriter comes along who seems destined to take that leap. There was a lot of anticipation at Sundance before the premiere showing of “Wind River,” the first movie directed by Taylor Sheridan, who wrote the brilliant screenplays for “Hell or High Water” (2016) and “Sicario” (2015)
“Wind River,” a murder mystery set on a Native American reservation that’s nestled in the wintry desolation of Wyoming, continues those obsessions. If you think that in the last few decades, the humanity has been leaking out of Hollywood filmmaking — some would say that it’s been hemorrhaging; others would say “Who cares?” — then it’s possible that no genre incarnates that decline quite like the thriller. Just say the word — thriller — and you think: Action! Guns, fights, heists, car chases. But in “Sicario” and, especially, “Hell or High Water,” Sheridan caught something debased and valiant, desperate and mournfully compelling in the sight of recognizable people caught up in the larger-than-life world of crime. In “Wind River,” he pushes that further, so that the scraggly human side of the drama is now far more potent and tangible than the underworld drive.
