Critic Reviews



Based on 39 critic reviews provided by
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.
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.
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.
If you’re looking for more than laughs, this comedy aspiring to drama takes you only so far.
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.
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.
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.
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.
Even though this feature debut for director Matt Spicer, who co-wrote the script with David Branson Smith, is sort of all over the place, it’s still often sharply amusing, crisply assembled and features game, broad-brushstroke performances from leads Aubrey Plaza and Elizabeth Olsen.
Ingrid Goes West is colorful and flippant enough that it can survive a lot of its more senseless developments, but the movie never digs beneath the most obvious layers of its L.A. stereotypes.

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