Over the past few years, Taylor Sheridan has won acclaim for
writing gritty crime dramas like Sicario and Hell
or High Water, and his directorial debut, Wind River. Director James M. Dagg, working from a script by the China
Brothers, tries to get in on that act with Sweet Virginia.
His sophomore feature dredges similar aesthetic and thematic territory. While
it succeeds on some fronts, it hits less hard on others, though the finished
product is a serviceable, if unremarkable, mumblecore neo-noir.
