It's hard to begin a discussion of Wind River without acknowledging the recent pedigree of writer-director Taylor Sheridan. Over the past two years, Sheridan has emerged from a supporting role on Sons of Anarchy to write exquisite scripts for Sicario and Hell or High Water, both of which suggested him as a major talent in film writing. When news broke that he'd be directing a film as well, anticipation was high; after all, when your first two films were that good, how could they not be?
The surprising thing about Wind River, then, is that it's actually Sheridan's weakest script by some margin, boasting less nuanced characterization, uneven dialogue, and some dubious survivalist philosophy. Instead, what makes the film thrilling is Sheridan's assured direction, emphasizing a harsh, freezing sense of place and crafting from that not only great tension but great action as well. Above all else, it possesses a taut, bleak beauty which allows it to transcend the deficiencies of its script and become compelling in spite of itself.
