'Wind River' Review: A tense thriller you should not miss. (No Spoilers)

On a remote Native American Reservation, a wildlife tracker works with a rookie FBI agent to investigate the rape and murder of a local girl. A high-concept film, Wind River has all the story hallmarks of a Hollywood thriller- suspense, action, mystery, twists, and brutality. Yet, the narrative unfolds with such logical progression, the melodrama is transformed into subtle, eerie tension, generating a grounded and significantly compelling film. Although not as impactful, somewhat due to questionable casting and character presentation, Wind River deserves a place next to other stick-with-you thrillers like Se7en and The Silence of the Lambs.

Predominantly, Wind River is a case-study for how effective a film can be in generating tension. Dirty frames, canted angles, and a subtle score over chilling and striking cinematography assist in creating a taut thriller. The score does occasionally overdo the pressure with strange spoken lyrics as the misplaced poetry pulls viewers out of the film rather than drawing them in, but otherwise always making the right moves, Wind River skillfully builds cunning, sharp tension throughout, keeping viewers fully invested.

Generally, the characters are impressively intriguing while the cast delivers first-rate performances. Jeremy Renner is absorbing in the lead role as Cory Lambert, a grief-stricken father and experienced wildlife tracker. Renner's simple yet focused acting goes hand in hand with the film's straightforward narrative. Similarly, Graham Greene compliments the film as Ben, a credible tribal police chief with well-written, well-timed, well-delivered, and often comedic dialogue.

Additionally, the supporting characters are remarkably refined through their brief appearances, actions, and conversation. Most notably, and without spoiling, a man and woman love story is quickly established near the end of the film. Through impressive performances and superbly written dialogue, their relationship is conceivable, endearing, and heartbreaking. Likewise, and for the same reasons, the villain of the film instantly earns and maintains the audience's hatred despite having little screen time.

Unfortunately, Elizabeth Olsen and her character, FBI Special Agent Jane Banner, do not share the same commendations. Seemingly cast for titillation, Olsen is not onscreen for ten minutes before the audience sees her ass in thong underpants. To her credit, Olsen executes the intended fish-out-of-water trope well, but is ultimately unconvincing as a federal agent. Most of her performance lacks authenticity as her delivery and expressions usually border and occasionally cross over to obvious make-believe. 

Moreover, the character is implausible. Early in the film, Banner requests Lambert's assistance to track the film's rapist/murderer. While vital to propel the narrative and possibly based on real events, her request is poorly timed and lacks the solid, established incentive that an FBI agent would require for such an arrangement, setting a hard-to-believe precedent for the remainder of the film. The opportunity is there, but questionable casting and substandard character presentation removes Jane Banner from the same class as Clarice Starling.

Characters and actors aside, notable perks of the film include the final action scene and a slew of fun and sophisticated dialogue. After a slow but engaging burn, the film's climax hits the audience hard and fast, keeping viewers trapped inside exciting, meaningful action while dangling hope of a positive outcome. Leading up to the climax and beyond, witty dialogue creates sheer enjoyment. When a character asks, "Should we wait for back up?" and the other replies, "This isn't the land of waiting for backup. This is the land of you're on your own," it's clear that a skilled screenwriter was at work.

Likely one of the best thrillers of the year, Wind River is a tension-driven film that should not be missed. Easily worth a trip to a matinee, there is no need to wait for the digital release.  

Did you see Wind River?  What did you think?  Sound off in the comments! 

Game of Thrones S07E07 'The Dragon and the Wolf' Review: Winter is satisfyingly here. (SPOILERS)

EPISODE SPOILERS!  Read at your own risk.

The seventh season of Game of Thrones is in the books.  Closing it out, The Dragon and the Wolf does its job, neatly ending seasonal storylines while leaving viewers with engaged questions, eager for the final six episodes.  Cersei learns that zombies are real, Theon finds his bravery, Sansa and Arya take out Littlefinger, Jaime abandons Cersei, Jon and Daenerys have sex, Tyrion is mysteriously concerned about their relationship, and the Night King brings down the wall before marching south with his army of the dead.  While predictable at times and never astounding, The Dragon and the Wolf is the best episode of its season, solid and concise, with many strengths and only a few flaws.

Refreshingly, Tyrion returns to form after a season of being mostly in the background.  Comedic yet noble, Peter Dinklage's dialogue and delivery calls back to earlier seasons and reminds viewers how he can make the show so enjoyable.  Likewise, Lena Headey delivers another perfect performance, keeping Cersei a character that oozes intrigue.  Despite all of her wickedness and previous misdeeds, she is remarkably still convincing in her false truce with Daenerys and Jon.  Her final scene with Jaime is particularly good as Nikolaj Coster-Waldau also delivers an equally captivating performance.  Although titled The Dragon and the Wolf, referencing Daenerys' and Jon's love affair, superbly crafted dialogue and compelling characters portrayed by extraordinarily talented actors make the Lannister siblings the standouts of this finale.

Other notable strengths include the early-on character reunions and the zombie demonstration scene.  With so many prominent characters and plot lines to further, the story beats impressively do not feel rushed or forced.  The minimal interaction between Cersei and Daenerys is a lost opportunity, as they are the center of conflict, and this is the first time the two opposing queens share the screen, but the flow of this meeting and the character reunions that lead up to it are exceptionally well-paced.  With interactions between Bronn, Tyrion, and Podrick, The Hound and The Mountain, Jamie and Brienne, Tyrion and Euron, The Hound and Brienne, Theon and Euron, and even more, along with Daenerys' intimidating dragon entrance and a suspenseful zombie demonstration, a lot happens in a short time.  Everything moves with smooth purpose, and nothing is cursory or extraneous.      

Also worthy of praise is the closing imagery of the episode.  An academic case of showing it without saying it, the snowfall on Kings Landing, shortly followed by the Night King epically destroying the wall, ominously tells viewers that winter is truly here and with it comes an unstoppable army of the dead.

Although the best of the season, the finale is not without its flaws.  Theon Greyjoy's storyline fails to make the intended impact.  Whether viewers should care about his goal to save his sister and his redemption is unfortunately debatable.  While the ineffective knee to his groin is amusing, Theon remains a difficult character to cheer for, making his story the least engaging amongst the episode's other narratives.  The actor, however, deserves absolute acclaim.  From arrogant to mentally broken to hard-fought bravery, Alfie Allen has demonstrated an incredible range throughout the series. 

Similarly, Aiden Gillen impresses in his final performance as Littlefinger, but the character's end is not as ingenious as he deserves.  The master manipulator, Petyr Baelish, whom set the stage for The War of Five Kings and has used intellect to weasel out of danger throughout the series, is undone by a basic, unworthy plot hatched by Sansa and Arya.  Firstly, an explanation as to when Arya and Sansa began working together is never explored, leaving viewers to wonder if their previous arguments were staged or not.  Second, Littlefinger has been deserving of a far superior, masterful, and intricate end since season one.  Quite clearly a case of the show writers working backwards in an attempt to red herring the audience, Littlefinger's death is sadly underwhelming and disappointing.

Overall, The Dragon and the Wolf is best described as just satisfying, primarily focused on doing what it needs to- planting seeds for a memorable final season and leaving viewers with anxious questions about the fate of Westeros' compelling inhabitants.  How will Jon respond when he learns the truth about his ancestry?  What will Daenerys do about Jon's claim to the throne?  Are the two of them going to have a child?  Why is Tyrion so concerned about their relationship?  Is Cersei really pregnant?  Who will meet their demise in The Great War?  When will The Hound and The Mountain face off?  What is Bran's connection to the Night King, and what in the blue-fire-hell does the Night King want?  

This writer suspects something vital is left out when Tyrion learns that Cersei is pregnant, as that scene ends too abruptly before Cersei makes her false truce.  Perhaps Tyrion knows Cersei is lying and is crafting his own plan, not to the benefit of Daenerys.  His previous episode conversation with her about succession suggests that Tyrion sees a bigger picture, beyond the mere question of whom should sit on the Iron Throne.  When The Great War is over, it is not unreasonable to suspect that Jon will be offered the throne, and with guidance from Tyrion, will destroy it, making room for democracy in Westeros.  Alas, theories are a dime a dozen and the only thing known for sure is that in six short episodes, Game of Thrones will end, and it will be greatly missed by many, this writer included.

Me as the Night King

What did you think of the finale?  What do you think will happen in season eight?  How do you want the series to end?  Sound off in the comment section!