Synopsis
Ingrid becomes obsessed with a social network star named Taylor Sloane who seemingly has a perfect life. But when Ingrid decides to drop everything and move west to be Taylor's friend, her behaviour turns unsettling and dangerous.
Votre Filmothèque
Cast
- Aubrey PlazaIngrid Thorburn
- Elizabeth OlsenTaylor Sloane
- O'Shea Jackson Jr.Dan Pinto
- Wyatt RussellEzra O'Keefe
- Billy MagnussenNicky Sloane
- Pom KlementieffHarley Chung
- Joseph BreenGarth Lafayette
- Hannah Pearl UttNicole
- Angelica AmorCindy
- Meredith HagnerCharlotte Buckwald
Recommandations
- 91
The Playlist
The movie lives and dies, however, on Ingrid herself and, remarkably, Plaza finds a way for you to root for her even when she crosses line after line after line. - 80
TheWrap
Spicer has a deft touch with his story, and his cast marvelously fleshes out a bunch of people we care about even though, in most cases, we know we probably shouldn’t. - 75
Slant Magazine
Ingrid Goes West recalls Fear and Single White Female — two films right in the sweet spot of mid-'90s nostalgia that Ingrid's peers love to recall — but is more indebted to Alexander Payne's social comedies, which dwell in the backwash of the American dream. - 70
Screen Daily
If you’re looking for more than laughs, this comedy aspiring to drama takes you only so far. - 70
ScreenCrush
The film works effectively on its own terms as a new variation on a timeless subgenre, and as a warning to people who share their lives freely online. - 70
Variety
A semi-ironic, yet still-empathetic “Single White Female” for the Facebook generation, Spicer’s squirm-inducing directorial debut understands both the pleasures and frustrations of judging one’s worth via virtual connections. - 67
The Film Stage
In his directorial debut, Matt Spicer gets right what so many other films commenting on today’s technology obsession fail to capture: the aesthetic appeal of the technology. - 67
Consequence
While there’s something to Ingrid Goes West and its indictment of insufferable L.A. millennial culture and social media’s dangers, Spicer’s targets are too bluntly specific to make the sort of nuanced argument that the film aims to attempt.
