Wind River (2017) 720p YIFY Movie

Wind River (2017)

A veteran tracker with the Fish and Wildlife Service helps to investigate the murder of a young Native American woman, and uses the case as a means of seeking redemption for an earlier act of irresponsibility which ended in tragedy.

IMDB: 7.867 Likes

  • Genre: Crime | Drama
  • Quality: 720p
  • Size: 782.91M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 7.8/10 
  • MPR: Normal
  • Peers/Seeds: 21 / 340

The Synopsis for Wind River (2017) 720p

WIND RIVER is a chilling thriller that follows a rookie FBI agent (Elizabeth Olsen) who teams up with a local game tracker with deep community ties and a haunted past (Jeremy Renner) to investigate the murder of a local girl on a remote Native American Reservation in the hopes of solving her mysterious death.


The Director and Players for Wind River (2017) 720p

[Director]Taylor Sheridan
[Role:]Jeremy Renner
[Role:]Julia Jones
[Role:]Kelsey Chow


The Reviews for Wind River (2017) 720p


Good Direction, But the Script Needs Some WorkReviewed byMatt GreeneVote: 4/10

Director Sheridan wrote Sicario and Hell or High Water, two of the most thoughtfully intense films of the last couple years, but this is (essentially) his directing debut. However, somehow he seems to have focused so much on the beauty of the visuals (which truly are stunning) that the script took a backseat. With a lack of character or distinction, and an unexpected plethora of clichéd storytelling and on-the-nose dialogue, Wind River is little more than a beautiful but ham-fisted allegory of how Native Americans have been poorly treated. Renner and Olsen take a break from their Avengers duties to join up with a local sheriff (scene-stealer Greene) to solve a crime in the frozen tundra of a Wyoming Indian reservation. The mystery itself, a young woman found brutalized and frozen in the woods, is an absorbing one, thanks to the skill in the filmmaking details. A uniquely foreboding score, intensely authentic action, gorgeously gruesome dead bodies atop scenic snow, and a lead hero who displays an aptitude for cool vengeance that should make Liam Neeson proud, all help boost the engagement. Unfortunately, once the mystery is resolved and explained, it's less, "Woah!", and more "Oh?". The appeal of the mystery begins to dissipate when the conclusion is unsatisfying, leaving us with more unintended questions than answers: Why is the camera so shaky during simple dialogue scenes? What's with the hackneyed one-liners? Are these performances nicely subtle, or just dry as a bone? Is this the best we can do to portray the suffering of Indian-Americans? Wind River might have some helpful thoughts on wrestling grief, but it's mostly just unnecessarily brooding and too uncomplicated in its anger.

Reviewed byjared-andrews2357Vote: 8/10/10

If you've seen any of Taylor Sheridan's previous work, you probablynoted that he has a certain style. He tells stories about ways of lifein dilapidated regions of the country. He blurs the lines between "goodguys" and "bad guys," instead framing the status of the selected regionas the truest villain. What's right and wrong, considering all theunique variables of each story, is not always clear. At least, that wascase in Sicario and Hell or High Water.

In Wind River, the region is still presented with all the strain thatis causes on the lives of its residents, but a much more obviousvillain is revealed before the movie is over.

Hell of High Water frames the crumbling economy of a certain Texasregion as the real source of evil, rather than any characters. Whereasin Wind River the source of evil is definitely the rapist. I mean, therapist attempts to blame the cold and silence, but his actions wereclearly much worse than bad weather.

Sheridan's previous films also left doubt about who were the heroes,who the audience should be rooting for. This time it was much lessambiguous—they were the people searching for the rapist.

An emerging theme in Sheridan's movies appears to be Tarantinoesqueeruptions of violence, sometimes near the conclusion. They don't alwaysreach the levels of the Django Unchained shootout, but Sheridan clearlyisn't shy about showcasing the unforgiving damage that can be inflictedby firearms.

Complaints, I have a few. On more than one occasion, I legitimatelycould not understand what a character had said, so I was left wonderingif I missed something important. I'm not sure if this manner ofspeaking was a choice made by the actors or if this was a decision madeby Sheridan to establish a certain tone. Either way, I could have usedless mumbling.

The other complaint that I have, and this is more serious, the middlethird of the movie felt like it contained a lot of empty moments. Thismay or may not have been related to the times that I couldn'tunderstand what a character said. Still, the movie could have used abit of its fat trimmed. It wasn't as crisp and clean as Hell or HighWater and Sicario. And I know I keep comparing this movie to Sheridan'sothers, but that's bound to happen when a writer sets the bar so highwith two gems.

On the whole, I consider this a success for Sheridan in his directorialdebut. I'd happily watch another story of his about justice and anoverlooked culture.

Taylor Sheridan depicts another dilapidated region of AmericaReviewed byJared_AndrewsVote: 8/10

If you've seen any of Taylor Sheridan's previous work, you probably noted that he has a certain style. He tells stories about ways of life in dilapidated regions of the country. He blurs the lines between "good guys" and "bad guys," instead framing the status of the selected region as the truest villain. What's right and wrong, considering all the unique variables of each story, is not always clear. At least, that was case in Sicario and Hell or High Water.

In Wind River, the region is still presented with all the strain that is causes on the lives of its residents, but a much more obvious villain is revealed before the movie is over.

Hell of High Water frames the crumbling economy of a certain Texas region as the real source of evil, rather than any characters. Whereas in Wind River the source of evil is definitely the rapist. I mean, the rapist attempts to blame the cold and silence, but his actions were clearly much worse than bad weather.

Sheridan's previous films also left doubt about who were the heroes, who the audience should be rooting for. This time it was much less ambiguous—they were the people searching for the rapist.

An emerging theme in Sheridan's movies appears to be Tarantinoesque eruptions of violence, sometimes near the conclusion. They don't always reach the levels of the Django Unchained shootout, but Sheridan clearly isn't shy about showcasing the unforgiving damage that can be inflicted by firearms.

Complaints, I have a few. On more than one occasion, I legitimately could not understand what a character had said, so I was left wondering if I missed something important. I'm not sure if this manner of speaking was a choice made by the actors or if this was a decision made by Sheridan to establish a certain tone. Either way, I could have used less mumbling.

The other complaint that I have, and this is more serious, the middle third of the movie felt like it contained a lot of empty moments. This may or may not have been related to the times that I couldn't understand what a character said. Still, the movie could have used a bit of its fat trimmed. It wasn't as crisp and clean as Hell or High Water and Sicario. And I know I keep comparing this movie to Sheridan's others, but that's bound to happen when a writer sets the bar so high with two gems.

On the whole, I consider this a success for Sheridan in his directorial debut. I'd happily watch another story of his about justice and an overlooked culture.

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