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Texas Ranger Samantha Payne (Luciana Duvall) reopens a 15-year-old Missing Persons case, uncovering clues linking a local boys death to wealthy family man, Scott Briggs (Robert Duvall). Samantha will stop at nothing to discover the truth even if it means risking her own life. With the unexpected return of his estranged son Ben (James Franco), Briggs must find a way to either silence the law for good, or come to terms with the relationship between Ben and the boy that he tried to conceal all those years ago.
About Wild Horses
Artist : Devon Abner, Adriana Barraza, Angie Cepeda, Robert Duvall, James Franco, Gerry Garcia, Josh Hartnett, Joaquin Jackson, Luciana PedrazaAs : Maria Gonzales, Scott Briggs, Ben Briggs, Ranger Jackson, Luciana Duvall, Jimmy Davis
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Release date : 2015-06-05
Movie Code : 4442130
Duration : 100
Category : Crime, Drama, Western, Criminal
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Reese Witherspoon delivers her best performance since she won the Best Actress Oscar for 'Walk the Line' a decade ago.
There's nothing particularly wild about "Wild," a forward-plodding story of redemption that follows Reese Witherspoon's determined march toward a best actress Oscar nomination.
Witherspoon is terrific - low-key and gritty as a woman who's lost her way and seeks to find it alone. Her voice-over narration is evocative, sometimes heartbreaking.
Vallee has taken a contemplative book where, frankly, very little happens and transformed it into a gut-punching drama.
"Wild" is a moving, engaging and deeply sincere story, set against some of the most magnificent scenery on the planet, and most of Strayed's fans should be reasonably content.
Wild may sound like a film about redemption, but it's more about learning to live with what you can't control - and accepting what you can control, which is sometimes just as difficult.
In a time when the desire for 'strong' female characters on-screen can often create perfect-but-plain parts for actresses to play, seeing a complicated female character on-screen here is even better.
A biopic that is both visually engaging and emotionally compelling. But it's hard to shake the feeling of careful ambition that keeps everything moving forward so neatly.
Witherspoon does the least acting of her career, and it works. Calmly yet restlessly, she brings to life Strayed's longings, her states of grief and desire and her wary optimism.
A rare on-the-road movie from a female point of view.
What do you do when your heroine is tough but emotionally hurt, bright but glib, grown but immature? Make a film about her that is both painful and uplifting.
It's a movie in which you can feel the spirit of the material infusing the filmmaker both as an artist and as a human being, and what results is that thing that occurs when even the simplest of songs sends sparks to the soul.
Maybe the lack of answers is the point. How do you save your life by hiking 1,000 miles? By putting one foot in front of the other.
Everybody has to come a distance to understand Strayed, not least of which is the lady herself, who discovers the simple truth of her marathon march: "How wild it was to let it be."
In general, Wild's ratio of dramatic incident . to "just existing in nature" is nicely judged.
The movie gets much of the book and has the added benefit of scenery - lots of it, deserts and mountains and forests spreading out to the far horizons.
Fueled by the centrifugal force of Ms. Witherspoon's dynamic, award-worthy centerpiece performance, it's one of the year's most galvanizing cinematic experiences.
With the help of a scrappy script by Nick Hornby that allows bursts of humor to break through the darkness, Witherspoon cuts to the bruised core of Cheryl's heart, rattling between desperation and determination.
It's a fine film, made with poetry and intelligence.
In less sensitive hands, Wild could have easily wound up being an Oprah's Book Club episode writ large, but Hornby, Vallee, Witherspoon and Dern lead the charge in taking the material to a higher elevation.
These competing narratives are connected haphazardly by visual transitions that feel like someone sat on the DVD remote, plus jarring tonal shifts between intimate conversations and tire-spinning car chases.
For the time being, Witherspoon - sometimes a wonderful actress and sometimes a maddening one - has found herself.
The theatrical performances don't come close to matching Duvall's 1997 directing breakthrough The Apostle.
The story Wild cares about, and tells with admirable honesty and cinematic grace, has less to do with the out-of-doors than with the inside-of-head.
"Wild" is about the renewal of self, but it's a film made without sanctimony or piety.
Ms. Witherspoon carries the whole movie. And she does so with unflagging intensity and remarkable verve .
Though there are occasional stumbles along the 1,100-mile hike, the peaks in "Wild" make the journey more than worth it.
"Wild" is ultimately unique for its twist, even if it comes by an unfortunately intrusive narration.
Vallee has crafted a vivid wilderness adventure film that is also a powerful story of family anguish and survival.
What the book communicates better than the movie is just how grueling the Pacific Coast Trail can be.But that's only a quibble. Like the book, the movie inspires wanderlust, whether the quest is for your body or your psyche.
A ruggedly beautiful and emotionally resonant saga of perseverance and self-discovery that represents a fine addition to the recent bumper crop of bigscreen survival stories.
If Wild is an interesting trek, for both its star and its viewers, it's hardly a feral one.
Witherspoon uses her own undoubted discomfort with the physical demands of the role to make us feel Strayed's predicament in our bones.
It'll take more than a Bob Marley T-shirt to sell us on the authenticity of this particular hiker, epiphany-bound though she may be.
Unlike its female peers, it's not about rejuvenation at some person's or culture's expense. This land isn't her land. The journey itself gets to you, but so does what it stands for. The only way out of the woods is into them.
Witherspoon's edginess makes her easy-and fun-to read; her face registers every bump on the path.
Not since June Carter Cash in Walk the Line has Witherspoon been so present to a character. Her Cheryl is funny and messy, wounded but not without survival instincts.
There's neither cinematic majesty to the vistas (and I saw the movie on a very big screen and sat very close to it) nor intimacy to the ground that Strayed treads.
Wild attempts to show how getting back to basics can arrest the downward spiral of a life pulled out of orbit by the gravity of pernicious influences.
Subliminal editing, seamless flashbacks and evocative musical cues make for a captivating trek that dances off the linear path, even as it marches doggedly ahead.
What a shambles.
Tonally dissonant and narratively disjointed, "Wild Horses" plays like a patchwork quilt of scenes excerpted from a much longer movie, or maybe even a miniseries.
This pensive, reflective, complicated Witherspoon feels more real than the one she left behind - and more in keeping with how she started, in hard-hitting independent movies 20 years ago.
A feel-good story that avoids sentimentality.
"Wild" for the most part works just fine, and should serve as a terrific career boost for Reese Witherspoon, who's a producer of the film as well as its star.
What makes its heroine worth caring about - what makes her a rare and exciting presence in present-day American film - is not that she's tidy or sensible or even especially nice. It's that she's free.
"Wild" meanders a bit, in its trips from present to past and back, but Witherspoon remains the constant, doing what sounds simple enough but proves so difficult: soldiering on.
A moving (literally and figuratively) experience, a road movie where the road is a trail that sometimes disappears into the trees, or takes a turn onto a jagged precipice.
"Wild" is an accomplished movie, and often a beautiful and moving one, but the woman at its center remains warily at arm's length.
Could Robert Duvall's incoherent melodrama "Wild Horses" have been salvaged by a skillful editor? Probably not.
[Duvall] loses the thread - and our attention - one too many times in a sea of lackluster conversations and unremarkable plot strands.
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