Ingrid becomes obsessed with a social media star named Taylor Sloane who seemingly has a perfect life. But when Ingrid decides to drop everything and move west to befriend Taylor, her behavior turns unsettling and increasingly dangerous.
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INGRID is a pretty goddamn ugly movie (we ain't talkin' mere aesthetics here). Fair enough. Instagram was always going to be the treasure trove it herein proves itself to have been, and Spicer's dire prognostications hardly fail to line up w/ observable realities. The movie isn't really a comedy. It's less funny the more you think about it. It's not a thriller, either. It's more like riding out a fugue on tranqs.
"Ingrid Goes West" continues in the footsteps of the relatively unseen "We Are Your Friends" by showing both the toxicity and fine-line between self-promotion and insanity while noting that those living in California hydrate by drinking Corona Extra. Hilariously sardonic with a tour-de-force performance by the still mostly enigmatic Aubrey Plaza, whose eyes and awkwardness may one day define this new generation.
California is a dream. Until you live here long enough that West Coast satires like "Ingrid Goes West" become both a necessity and a balm from the self-important groupthink. The film doesn't go as deep or as dark as it thinks it does, but it's still pretty terrific, and both Aubrey Plaza and Elizabeth Olsen are Instagram-perfect for these roles (so grateful Plaza finally found her ideal post-"Parks and Rec" vehicle).
Aubrey Plaza gives an incredible performance here in this film that is very relevant to the times that we live in and also has a lot to say about obsession and mental illness and the impact that social media has on our society and how it consumes our day to day lives just so we don't have to feel alone in this world. A true gem that is honest and funny.
A much needed edgy social media satire that strikes the balance between comedy and drama. Its deft touch has not been seen this clearly since peak Alexander Payne (Sideways, Election, The Descendants, Nebraska).
Although it does not try to pedantically emulate Black Mirror's grotesquery (think Nosedive), this commentary on social media obsession feels at times didactic, if not earnest. At any rate, don't let the pervasive neon lights fool you: behind the artificial brightness, you'll find the deep void of the Millennial soul.
A fascinating story of social media obsession taken too far. It's the kind of tale that begs to be told in this day and age, and Matt Spicer does it well. The cast is excellent all around and the editing is efficient.