![]() The memories flood back as Cheryl plods through the breathtaking landscapes - most of the film was shot in Oregon - because the filmmakers, who were aided on set by Strayed, understand that wilderness offers you time and space to think, breathe and remember. Vallée effectively uses quick cuts and longer flashbacks to show the events that led Cheryl to undertake her ambitious hike, a decision that pays off handsomely in terms of pacing. Screenwriter Nick Hornby (author of such novels as High Fidelity and About a Boy) resists the impulse to pad the story with unnecessary action or overly dramatic developments. Wild is built on such moments and other, quieter ones as well. ![]() It’s a guttural cry of rage, frustration and pain at all the stupid, agonizing things we can’t change. The moment isn’t about the boot (though hiking in duct-taped sandals is not something you ever want to try if you can help it). Miles from anywhere she might replace it, she howls and hurls its mate. ![]() Vallée, who directed last year’s Dallas Buyers Club, is the perfect choice for this material, and he hews closely to Strayed’s work, right down to its opening scene, in which a dirty, weary Cheryl accidentally knocks her hiking boot down the side of a mountain. ![]() The heart of Wild, though, as framed by director Jean-Marc Vallée, is the moving love story between a mother and daughter, which makes this film about loss and recovery personal and universal in all the best ways. ![]()
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