@ that contrived Hollywood-esque nonsense. And they did have a character to exemplify that. It was Nathalie, the victim who ran 10 miles through the cold. That's why Jane broke out in tears in the hospital when she asked Cory about that. She knew that she didn't have the ability to survive on her own there. She was the sheep from the opening scene, relying on the hunter (Cory) to save her from the wolves. And I thought Sheridan made it very clear she was a low-level rookie and completely out of depth without doing a forced
'I only completed training six months ago' type line of dialogue. This is why so many movies suck these days because you want those obligatory lines to state something that is completely clear through context.
Hell, if that point wasn't made clear as day midway through the movie, it was dead obvious during the big stand-off between the police and the security forces.
The fact some of you guys didn't pick up on this is just disgusting to me. The goddamn "redshirts" of the police force had a better idea of the situation at hand and that says it all. They saw the security guys were trapping them in and she had no clue because she has no experience. You guys complain that the movie focused on two white characters in the center but one was deeply embedded into the community, and the other was presented as completely clueless and had every single native looking at her like
I do think they could've made Cory's character a native, but Hollywood ain't selling a movie off a native American lead, that's just cold hard truth and Sheridan worked around it as much as possible.
Moving on from that discussion to the actual movie, I have it just a bit below Hell Or High Water although I felt the same about it starting off pretty damn good, then turning pretty fukking great in the third act. Because yes, it was on the nose, but that's why the flashback works so well because it's not supposed to be a twist, it's a development where you go, oh, these must be the guys that did it, and then Sheridan does the right thing by showing us that we're right and moving it along instead of trying to pretend for another five minutes that they're not. I'm not trying to shyt on you guys too hard but to me this was a screenwriting masterclass. You can say it has its few rough edges and you wouldn't be lying, but Sheridan captures the essence of storytelling far better than most screenwriters today.