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Sheridan forms solid drama from the battle between community law and the feral law of the frontier.Piling bodies everywhere as it approaches its climax, “Wind River” is a new chapter in that endless battle.
Banner, caught by disbelief just as the viewers are, is a solid audience surrogate as Sheridan uncorks shocking sequences that turn the story’s character focus and timeline in unexpected directions.His FBI gig cuts into time he’s supposed to spend with his son, and gradually we learn that he sees it as less a matter of enforcing justice than of settling personal affairs.There are fine roles for the broadly Native American supporting cast, from Kelsey Asbille as the victim (seen in a flashback sequence) to the ever-outstanding Gil Birmingham as her devastated father, who paints a “death face” of mourning on his features.Following her barefoot run across widescreen vistas until she drops, seeing the crimson smears she leaves on the monochrome tundra, the film takes a gripping dive from pristine white landscape and into bloody shadows. Marksmen assigned to pick off threats to the human population are harder to find. Wind River is the name of Wyoming’s only American Indian reservation, 2.2 million acres of mountain and snow, poverty and drug addiction, crime and predators — not all of them wolf or bear.
The next shot showcases sheep being protected from a wolf pack by a professional animal tracker and sniper for the U. It’s also the setting for a classy shocker that adds to the already impressive filmography of Taylor Sheridan.
The head of the reservation’s police force (Graham Greene in dryly ironic form) is in charge of “six officers covering a territory the size of Rhode Island.” He gets the same level of dismissal among his citizens that Banner receives from the private security team patrolling the central area leased by an oil company.