Ingrid Goes West

Earnest character work by Plaza, Olson, and O'Shea Jackson Jr., stylistically relevant visuals, and emphatic themes surpasses the script's numerous pitfalls.

Relevant, timely, and uncomfortably close to home, Ingrid Goes West delivers a quirky, fun, brutally awkward, legitimately unsettling cautionary tale about influencer culture and social media obsession.

The people examined by the film are as paper thin as the pixels that make the images on their phones, and have as much depth as an evaporated gully.

This comedy needed to be made. It has its flaws, but it's better than we had a right to expect.

The picture's greatest asset is its star and producer, Aubrey Plaza, who has a name like a suburban shopping mall and a face like sarcasm personified.

Ingrid Goes West indulges our worst impulses in the grand quest to gain more likes, followers and attention.

Ingrid Goes West tells an engaging story with a strong, fascinating character study at the centre, but the film shocks with unbelievability towards the very end, and then, simply sends out a completely wrong message.

Unexplored potential aside, there is a deeper issue which casts Ingrid Goes West, for me at least, in a pale rather than neon light.

One of Plaza’s greatest talents is her ability to make you see and feel the most vulnerable parts of people—and this is beautifully on display in Ingrid.

The film might've been a funny cringe comedy if it wasn't so disturbing and true. Unfortunately, Spicer does not adequately investigate his topic, and his titular character is denied personal growth.