With Ingrid Goes West, millennials raised in an age of social media finally have a dark comedy they can truly claim as their own.
With a light hearted tone but twisted sense of humor, Ingrid Goes West is a dark comedy that feels decidedly of the moment, and will likely serve as a time capsule of sorts once we’ve outgrown Instagram, hashtags, and geofilters as a whole (if that ever happens…). Anchored by a solid cast, Ingrid Goes West is a late summer gem that deserves to be sought out.
In the titular role, Aubrey Plaza embraces her reputation as Hollywood’s resident “quirky” female comedian, but drops her trademark deadpan tone for an eerie, completely uncomfortable persona.
This is the story of how Ingrid, an unhinged woman who recently completed a stint in a mental hospital, invades the social circle of Taylor Sloane, an Instagram “celebrity” (Elizabeth Olsen), trying her very hardest to become the woman’s best friend by any means necessary. While things work out surprisingly well at first, her plan becomes more complicated once the social media star’s unhinged brother, Nicky (Billy Magnussen) arrives on the scene, and attempts to unravel Ingrid’s web of lies.
When writing a film about social media, screenwriters have to tread lightly, as it’s very easy to have characters utilize a particular social media service in a way that feels inaccurate or unrealistic. Ingrid Goes West skillfully avoids that problem, and actually creates characters that feel like genuine Instagram users. Throughout the film, characters behave in a reasonable way, and respond to weird or unsettling plot developments in a manner that makes sense.
Furthermore, Taylor’s Instagram (as well as the social media profiles for all the characters) seem genuine. Even better, writers David Branson Smith and Matt Spicer (who also directs), don’t follow the clichéd path and create an anti-social media film, which could have come off as preachy. The film actually seems quite indifferent towards social media, only taking a stance against those who use social media to determine their self worth.
To that point, Spicer has also filled his cast with an ensemble of talented actors, all of whom seem to understand the nuances of their characters and what they get from social media. This is very much Aubrey Plaza’s show – she’s in virtually every scene, and manages to make her character feel creepy without ever flying over the top. In fact, this is one of her more nuanced, believable performances, and it indicates the sort of varied career she’s capable of.
But, as her sort of social media foil, Elizabeth Olsen delivers a complex, layered performance as Taylor. Throughout the film, it is clear to the viewer when Taylor is being genuine, and when she’s projecting her Instagram-self into the real world. Elsewhere, Billy Magnussen manages to take a potentially ridiculous character and make him both funny and, when appropriate, intimidating. And, in a memorable supporting role, O’Shea Jackson Jr. (Straight Outta Compton) steals scenes as Ingrid’s landlord, who she eventually ropes into her schemes.
Where the film hits a slight road bump is as it approaches it’s final third. Ingrid Goes West doesn’t exactly break new ground in its conclusion, and anyone with a basic understanding of typical film narratives will know where the story is headed once the plot kicks into gear, but the way that Smith and Spicer get to the conclusion feels poorly thought out. Even more annoying, these scenes feel all the more pointless once the film actually ends – it felt like the two cared more about shocking the audience as opposed to organically setting up their ending. There is also a subplot about Taylor’s husband (Wyatt Russell) that feels rushed, only to be dropped in the end. But the consistently strong humor and compelling story will help make these moments easy to ignore.
In an age of Instagram influencers, YouTube stars, and social media celebrities, Ingrid Goes West feels like a necessary comedy. It’s not exactly a call out of these somewhat bizarre folks who walk the blurring line between “regular” people and genuine stars, but a film that turns a skeptical eye on the phenomenon and wonders aloud if it’s healthy to use social media as a way to improve your real life. Along the way, viewers are gifted with some genuinely funny moments, strong performances, and an intelligent ending. This is a modern comedy that viewers can laugh at, and discuss with friends (both online and IRL) afterward.
Overall rating: 8 out of 10.
