Based on the novel of the same name by Jordan Harper, She Rides Shotgun follows Nate McClusky (Taron Egerton, Rocketman), an ex-convict who is forced to kidnap his 11-year-old daughter, Polly (Ana Sophia Heger), to protect her from a hit order issued by a neo-Nazi gang after Nate killed their leader. The narrative tracks father and daughter on a frantic escape across seedy motels, stolen cars, and violent encounters that force an emotional intimacy between them that had never existed before.
Some of the most remarkable films of the year aren’t the ones that headline prestigious festivals or dominate massive marketing campaigns, but rather modest works that arrive quietly. She Rides Shotgun is one of those hidden gems. In a landscape saturated with thrillers and family dramas, this film – directed by Nick Rowland (Calm with Horses) and written by Harper himself, alongside Ben Collins & Luke Piotrowski (The Night House) – surprises with its emotional honesty and solid execution, deserving far more attention than it will likely receive. It’s the kind of movie critics too often overlook amidst hundreds of screeners – and that’s a shame.
Egerton delivers one of the most versatile performances of his career. Visibly in excellent physical shape, the Welsh actor embodies Nate with a mix of restrained brutality and surprising tenderness. When he needs to be intense, he does so with an almost terrifying authenticity; but it’s in the vulnerable moments – especially in his quieter interactions with Polly, like when he cuts and dyes her hair so they won’t be recognized – that Egerton truly shines. It’s another reminder that he remains one of the most underrated actors of his generation, even after the recognition he earned for Rocketman and the Kingsman saga.
But if Egerton is the pillar that supports the story’s more visceral side, Heger is its heart, soul, and emotional engine. At just 11 years old, the young actress delivers a performance that defies all expectations. The emotional complexity demanded by the role – grief, fear, anger, love, moral confusion – would challenge even an experienced adult actress. And yet, Heger approaches each scene with staggering maturity, from her weighted, silent glances to full-bodied physicality, such as in the impressive final sequence in Slabtown, where she runs in panic while gunfire and explosions erupt around her. Without exaggeration, this is one of the best child performances of the XXI century.
Rowland proves his talent for capturing human vulnerability in oppressive environments, showing a rare sensitivity in portraying the father-daughter dynamic. His vision leans on a naturalistic aesthetic and intimate camerawork that allows the actors to breathe. The barren, melancholic landscape mirrors the internal solitude of its characters as they undergo truly human arcs.
That said, the screenplay isn’t without its structural hiccups. The pacing occasionally loses momentum in the second act, and some narrative threads feel unnecessary – particularly a sequence involving a corrupt cop introduced late in the story, which feels predictable from the start and lacks the intended dramatic impact. This subplot ends up delaying the climax between Nate and Polly, slightly weakening the resolution’s power.
The score by Blanck Mass is a technical highlight. Composed of somber electronic melodies, the music never overpowers the story but instead elevates its most inspirational moments. One standout scene involves Polly tending to her father’s leg wound inside an abandoned trucker chapel, with a soft, moving track in the background – a perfect example of the movie’s ability to balance violence and tenderness with remarkable finesse.
At its core, She Rides Shotgun is a meditation on the legacy of violence and the possibility of breaking destructive cycles. The film explores the idea that parental love – even when delayed or imperfect – can act as a redemptive force, capable of pushing back against what feels like an inevitable trajectory. Nate, a man shaped by years of brutality and poor choices, sees in Polly not just the need for redemption, but an opportunity to teach – or perhaps plead – for his daughter to choose a different path. To what extent are children doomed to repeat their parents’ mistakes? Can empathy be taught in a world that rewards brutality? There’s a moment when Polly tries to shoot one of their pursuers, and Nate’s reaction encapsulates the story’s entire moral dilemma: the desperate attempt to preserve a child’s innocence in a world that constantly tries to take it from her.
The film also reveals how structural violence – be it through gangs, corrupt police, or the absence of support systems – pushes entire families to the edge, forcing impossible decisions. Nate teaching Polly how to use a bat to defend herself is both an act of love and a devastating symbol of what the world now demands of her. And yet, amid all the chaos and destruction, there are moments of tenderness, empathy, and emotional reconnection that suggest, perhaps, there’s still time to rewrite their future.
Final Thoughts on She Rides Shotgun
She Rides Shotgun tells a relatively simple, even formulaic story – a man on the run, a redemption arc, a family bond forged in the fire of survival. But it’s in the way it tells that story – with emotional honesty, top-tier performances, and intimate, inspired direction – that the movie finds its unique power. It doesn’t reinvent the genre, nor does it try to. And while Taron Egerton reaffirms his value as a versatile and committed actor, it’s Ana Sophia Heger who truly steals the show – a total revelation, carrying the film’s emotional weight and elevating it with rare depth. Her performance isn’t just impressive “for her age”. It’s impressive, full stop. A star is born here – and everyone better take notice.
Rating: B
She Rides Shotgun is now playing in theaters.
Learn more about the film, including how to buy tickets, at the official website for the title.
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