Wind River (2017) 1080p YIFY Movie

Wind River (2017) 1080p

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: 7.847 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.62G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 7.8/10 
  • MPR: Normal
  • Peers/Seeds: 31 / 306

The Synopsis for Wind River (2017) 1080p

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) 1080p

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


The Reviews for Wind River (2017) 1080p


An Engrossing Murder Mystery That Respects Its Subject _ and AudienceReviewed bykckidjoseph-1Vote: 8/10

"Wind River" is a gripping murder mystery-thriller written and directed by Taylor Sheridan (Best Original Screenplay Oscar nominee for "Hell or High Water") starring Jeremy Renner, Elizabeth Olsen and Graham Greene, featuring an unusually strong supporting cast that includes many fine Native American actors.

Renner and Olsen play a U.S. Fish and Wildlife Service tracker and an FBI agent, respectively, attempting to solve the murder of a young woman whose body is discovered by Renner under mysterious circumstances as he patrols the Wind River Indian Reservation in Wyoming.

The film scrupulously avoids clichés and is tightly edited with nary a wasted moment, yet never feels rushed or artificial in performance or plot. Everyone and everything is there for a reason, and best of all, the audience is given credit for being able to keep up and connect the dots.

The violence, which is absolutely necessary, is kept at a bare minimum as a narrative device, explaining and clarifying rather than assaulting the senses.

Every character, even the most heinous, is portrayed as a fully developed human being rather than as stereotype.

We learn how the Native American culture is victimized in a way that takes us inside their world and their souls, but the journey is skillfully handled and never heavy handed.

The photography is perfectly rendered, celebrating the icy Wyoming scenery in a muted style consistent with the mood of the story.

Renner, Olsen and Greene are excellent and believable, but in no small way this is an ensemble piece whose potency and effectiveness derive from the palpable passion and belief of everyone in front of and behind the camera.

This is an engrossing story well worth your time and money, and kudos to everyone involved for having faith that a discerning audience will find and appreciate it.

Why does every line of dialogue need to be a social commentary?Reviewed byReznik_TVote: 5/10

Sure, this movie has some stuff going for it. The scenery is beautiful, cinematography is fine, Jeremy Renner is a likable guy, Elizabeth Olsen is pretty, and the local cop/sheriff (played by Graham Greene) is a believable character who acts like an actual human being. Too bad he's the only one. Wind River - even more so than Hell or High Water (written by the same guy) - is filled with dialogue where people talk in metaphors, where there's always a deeper meaning to what they say, in other words, it doesn't sound like normal, everyday people talking to each other. If they only did that in certain key moments, it would be fine, it could work if that's what the story demands. But when that's all you hear throughout the whole film, it becomes pretentious and irritating.

Also, I'm tired of the notion that certain movies feel the need to hit you over the head with their social commentary. When the young female FBI agent arrives, everybody is surprised, obviously because they don't think a woman is fit for the job (aka sexism). When they arrive at the home of the native American family, the father asks the FBI agent: "Why is it that whenever you people want to help us, you always insult us first?" (Because that's what white people always do, I guess.) When the Indian boy, who sells drugs, gets caught and confronted by Jeremy Renner, the conversation is about him fighting against the whole world, and how Jeremy Renner shouldn't say "we", because the only native American thing about him is his wife. And if that's not enough lecturing for you, then wait for Elizabeth Olsen thanking Jeremy Renner for saving her life, and Renner replying by saying, "you're a tough woman, you saved your own life". Obviously the problem is not the idea of "strong women", but the fact that instead of making it a natural part of the story and the characters, the director decides to shove it down our throats through such clumsy, heavy- handed dialogue.

There's a shoot-out scene towards the end of the movie, that I thought, was written and executed pretty poorly. First of all, at one point I couldn't even tell who's on whose side, and who gets shot by who. It felt like they tried to recreate the amazing border shoot-out scene from Sicario (also written by the same guy), only this time in the snow. The problem is that we don't know anything about most of the people who are in this scene, as they were just introduced two minutes earlier, but all of a sudden we're supposed care whether they live or die.

Anyway, if you're a huge Jeremy Renner or Elizabeth Olsen fan, you might as well go and check it out, but be prepared, it's not a very good one.

Reviewed byRob Ervin (Obi_Bamm_Karaoke)Vote: 8/10/10

When actors decide they want to make the transition to the other sideof the camera and direct films, it can be a dicey proposition. It makesme even more nervous when said actor to director decides they don'thave the acting out of their system and want to keep acting, but with"Wind River," Taylor Sheridan (best known for "Sons of Anarchy," butalso the writer of both "Sicario" and "Hell or High Water" with thiscompleting his American Frontier Trilogy) separates himself in order tofocus on directing a wonderful based-on-a-true-story tale.

Jeremy Renner plays Cory Lambert, a tracker who works for the Fish andGame Commission in Wyoming who gets caught up in the investigation ofthe murder of a young Native American woman on a local reservationduring a series of brutal snowstorms. He partners with FBI agent JaneBanner (Elizabeth Olsen) as they try to navigate the elements and eventhe law as it pertains to the reservation itself and a very thin lawenforcement department headed up by Gen (Graham Greene).

I know there is not much to the above summary, but that is all youreally need to know about this film, besides the fact that I REALLYenjoyed it as one can do with the material involved. Make no mistake:this is a dark film that deals with very haunting subject matter, sothere is quite a bit of weight to it, but Sheridan treats this storywith the highest level of respect by allowing his very well writtenscript to drive it while still shooting it beautifully. To see suchbeautiful landscaping (actually shot in Utah) take my breath away whilestill understanding the danger of what the elements bring from thewildlife to the weather and even the inhabitants add a great layer tothe story, but what takes it to the next level is the score from NickCave and Warren Ellis (not THAT Warren Ellis) that frames each andevery scene perfectly without giving what is coming up ahead.

From a performance standpoint, I really dug the way that both Rennerand Olsen dialed it WAY back within their characters with Rennerkeeping Lambert simple and focused on the task at hand and Olsenshowing how Banner is just trying to do the right thing whileattempting to understand the situation she in AND asserting theauthority she has representing the Bureau. Greene gives great balanceand levity to their dynamic while keeping his character involved as areminder of the heightened sensitivity of their situation.

The Weinsteins' eye for film strikes again here, and I am also lookingforward to where Sheridan's career behind the camera goes as well. Forthis being the second time he has helmed a film, this is incrediblyimpressive and should at least be on your "need to check out" list ifnot all the way to "must see".

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