Ingrid Goes West is empowered by its characters, with incredibly modern styles added to age-old stereotypes
Ingrid Goes West is empowered by its characters, with incredibly modern styles added to age-old stereotypes, as the film explores the ideas of popularity and sanity. Yet it takes these themes and twists them together in a thrilling and hilarious combination.
After a stay in a mental hospital, Ingrid (Aubrey Plaza) decides to move to L.A., taking up a new project in her quest for popularity. With new bezzie Taylor (Elizabeth Olsen) by her side and landlord Dan (O’Shea Jackson Jr.), Ingrid tries to become one with the in crowd, hiding her true intentions and personality.
Elizabeth Olsen is truly brilliant as Taylor Sloane, as she embodies an insta-famous celebrity, donating her life, to her lifestyle, showing how cruel the world is though just one personality. She lights up her scenes as if they were a photo on Instagram, and the ideas she embodies are hilarious and ultimately accurate.
Despite so many positives, Ingrid Goes West does suffer from being unable to ramp up the intensity it is trying to produce. The actions on screen are extreme, but the way they come across are not. This is partly due to the normalisation of Ingrid’s previous odd behaviour, with the bizarre actions not coming as a shock, and partly due to the steady, nature of the entire film. The particular section that should have seemed most extreme was simply not overwhelming.
It is actually a thoroughly enjoyable film, and one of genuine fun, it is just Ingrid Goes West’s failure to build its extremities and promote the climax that stops it from becoming a great film. Because of this, it leaves a slight feeling of deflation, which doesn’t do the rest of the film justice at all.