The everyday boring routine of a down-and-out social media stalker requires a change of scenery, in ‘Ingrid Goes West’. Ingrid Thorburn (Aubrey Plaza) is an unhinged social media stalker with a history of confusing “likes” for meaningful relationships. Taylor Sloane (Elizabeth Olsen) is an Instagram-famous “influencer” whose perfectly curated, boho-chic lifestyle becomes Ingrid’s latest obsession. When Ingrid moves to Los Angeles and manages to insinuate herself into the social media star’s life, their relationship quickly goes from #BFF to #WTF. Built around a brilliantly disarming performance from Aubrey Plaza, “Ingrid Goes West” (winner of the Waldo Salt Screenwriting Award at Sundance) is a savagely hilarious dark comedy that satirizes the modern world of social media and proves that being #perfect isn’t all it’s cracked up to be. ‘Ingrid Goes West’ is written and directed by Matt Spicer, and is rated R for adult language throughout, drug use, some sexual content and disturbing behavior.
Social Media plays A more prominent role than ever in our society, so it was only A matter of time before that current concept reflected the material in our box office society. Along comes ‘Ingrid Goes West’, a passion project of sorts for the man responsible for filling up the pages and the screen with this cautionary tale of sorts, Matt Spicer. In only his first full length feature film, Spicer shows such promise and honesty in offering a reflective glance into our own addictions with social media apps and websites, and where it falls on the level of importance with our daily routines. Considering this was A film about A celebrity stalker, it did make me feel slightly uncomfortable that A lot of Ingrid’s methods and maneuverability online reflected some of my own traits, and in that regards, we’re all Ingrid. It’s an unprecedented move from what I can conjure up, that A movie takes what should be its antagonist of sorts and shuffles the cards in her personality to make us take A step back in proving how blurred that line of consequence could be when you’re dealing with people opening up their virtual front door to a world of strangers. Spicer sees this world, but doesn’t mind poking a little satirical fun at it while he’s here.
First is the tone of the film, which I felt very fearful of after seeing the trailer that I was less than thrilled with. The two-and-a-half minute ad portrays this film as A comedy of sorts, and while there were moments in the movie where I did enjoy A giggle or two, Spicer never shies away from how dangerous the game of obsession truly is. What little comedy is used in the film is pursued more for the establishing of awkward atmosphere that rings true to Ingrid’s initial meetings with Taylor, and the kind of commitment that comes with trying to be noticed. Eventually, this all settles down by late in the second act, and that light-hearted atmosphere of Ingrid starting anew is eventually traded in for the very same mistakes and impatience that led her down that unstable road with another previous friend revealed in the film’s opening moments. From here on out, it’s very A game of nerves, with Ingrid’s mounting obstacle forcing her to take her actions, as well as the film’s attitude in the very directions that this script deserves. This balance of tight-roping the proper creative direction is A difficult thing to pull off, but the responsible stance of taking this very seriously is one that I commend the movie greatly for, and keeps it afloat for some of its weaker aspects later on.
The screenplay is solid, but does have the indistinguishable taste from time to time of A possible Lifetime movie-of-the-week scenario playing out before us. The preaching of this social media burden doesn’t ever become overzealous nor obvious in what its communicating, but the script never matures from using that one-note method to broader horizons, bringing us always back to where it originally started 92 minutes prior. The film also sets up some possible scenarios with Ingrid’s past that it never follows through on. Too much is going forward without understanding the consequences of Ingrid’s past, and I felt that was A valuable mistake. The pacing is exceptional, and I can never say that I was ever truly bored with the film. The ending did have me worried because there wasn’t A lot that was set-up to close this out, but I feel like the right direction was taken in showing that social media is a vicious cycle that some very rarely ever breakout of. While that sounds like A possible spoiler, trust me when I say that you have no idea where this movie is headed, and that aura of unpredictability is always best with a suspenseful offering like this one. It’s not a horror movie of any kind, and doesn’t need a cheesy score to accompany it, but this film’s shock factor comes from the very source that we take for granted every day; that little box that we open ourselves up to daily, breaking down a wall of vulnerability that up until now has guarded us with the privacy that all are entitled to.
What gets it through some of the mud of an occasionally conventional script is the detailed performances of A solid cast that all bring their A-game. It’s great to see O’Shea Jackson Jr stepping up to the forefront after stealing the show in 2015’s ‘Straight Outta Compton’. Here, Jackson is able to emote some of that endless charisma that he got from pops, occasionally breaking into some timely improv involving Batman of all things that proved his versatility. The chemistry between he and Plaza is certainly evident, even if their bond is anything but the typical romance in movies. Plaza steals the film with her best performance to date. As Ingrid, she’s the perfect casting, showcasing A cold and blank stare with her burning eyes that always relay A terrible idea being conjured up. Until now, Plaza has been stuck in raunchy comedies, very rarely being given the chance to do some actual acting, and thankfully Spicer sees the magic in his leading lady. Aubrey brought out A wide range of fear, embarrassment, sadness, and even pain for her character that is very difficult to do in A role as complex as this one. She’s not the kind of character you want to spend ten minutes alone with, but the film does a detailed job in depicting the crippling beast of loneliness that very few are able to run from.
THE VERDICT – ‘Ingrid Goes West’ and our jaws drop south, with A truly chilling performance by Plaza at the movie’s peak. Matt Spicer alike brings the best in an inventive and unforceful sermon on the vapid vulnerabilities of who’s watching on the other end of the social media specter, even if his film occasionally feels satisfied enough with approaching A-list stereotypes from just a face value. His film none the less is vividly humbling and socially relevant, issuing a call of warning to the world that is turning out a new follower every few seconds.
7/10