FILMSNAP: A film review that is 300 words or less.
With mobile phones, apps and celebrity culture reaching peak popularity, along with its growing number of dissenters, a film like Ingrid Goes West was inevitable. Matt Spicer’s film is a satirical comedy riffing on these themes, that’s neither satirical nor comedic enough to make a dent in our digitised world, but remains a fleetingly entertaining character study/nosedive that plays to the strengths of its main star, Aubrey Plaza.
Plaza’s film career has had a rough time so far, but here she excels, playing a moody and psychotic millennial who becomes obsessed with a famous photographer (Elizabeth Olsen) and her Instagram. In some early images of the film, she’s glued to her phone screen, only leaving it briefly to take some medication. Thankfully Ingrid Goes West doesn’t dwell on this one-note joke (‘Aren’t millennials so fixated on social media?’) for too long, as Ingrid ventures to California to stalk, manipulate, and eventually befriend Olsen’s celebrity.
For a time, this works, and her exploits in this second act are at its most hilarious when it vies for cringe (rather than a series of batman references that form an inexplicable running joke). Billy Magnussen as Olsen’s gurning brother is a riot; Olsen’s husband, played by Wyatt Russell, is less so, regurgitating the themes Matt Spicer wants to convey. If his wife talks in emoji, he talks in exposition.
Scathing satire falls to the wayside as the narrative takes over, which is when Ingrid Goes West turns into Ingrid Goes Pear-Shaped. The film forgets to have fun with its premise, but is also overconfident in how much empathy it can brew up with Ingrid at the helm. This is a (140-or-less) character study that fails to live up to the potential of its premise – even if the premise itself is inherently watchable.