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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