Gripping and filled with some stunning performances, She Rides Shotgun is an emotional crime thriller that’s definitely worth your time.
Amidst all the big blockbusters of the Summer, there are still plenty of “smaller” films hitting the big screen that feel like hidden gems when you find them. Undoubtedly, She Rides Shotgun is one of them.
She Rides Shotgun
Directed By: Nick Rowland
Written By: Ben Collins and Luke Piotrowski
Starring: Taron Edgerton, Ana Sophia Hege, Rob Yang, John Carroll Lynch
Release Date: August 1, 2025
Based on the novel of the same name, the film puts the focus on Nate (Taron Egerton) and his estranged daughter, Polly (Ana Sophia Heger). Nate is recently out of prison, but the life of crime he’s trying to leave isn’t ready to give him up yet. Having done something to enrage a notorious (and violent) crime boss, Nate finds a “greenlight” hit on not only his head, but his daughter’s as well.
Hoping to keep her safe from the sins of his past, Nate seemingly “abducts” Polly as they go into hiding. With both gangs and law enforcement hunting for them, Nate is forced to immerse Polly in the life he’s trying to leave behind (and keep her from getting into). As the bond between the father and daughter grow, so do the odds against them.
I don’t want to get into any spoilers, so we’ll leave it at that. Suffice it to say there are more crime thriller elements at play (especially when it comes to some of the side characters working to track them down), that allow for some thrilling action moments and a seat-gripping finale.
The real core of the story, however, is the emotional dynamic between Nate and Polly. She’s a young girl who only vaguely knows her Father thanks to his choices and incarceration. They’re about as opposite as it gets, but it’s clear from early on that they care for each other…even if they’re unsure how to go about it.
For all his faults, Polly still loves her father. Like all younger children, she wants to see him succeed and be a part of his life. She’s not naive to the morally dubious nature of Nate’s actions, but clings to the hope her dad could be better and chooses to see the good in him when others (even himself) can’t.
Nate, for his part, is not a good man. He’s done, and still does, terrible things. Yet even as we see that more ruthless side of him come about, there’s no denying how much he loves his daughter. His desperation for her to be better than he is and ultimately lead a more fulfilling life.
I love how the film doesn’t try to redeem Nate’s character in any of the traditional ways. He’s a likeable enough character, but the film never tries to portray him as anything other than what he is. Instead, it presents him not as a bad guy trying to change his ways, but as a guy who’s done bad things hoping to make the right decision when it comes to Polly. It’s an important distinction, and forms the crux of the story being told.
There are plenty of great action moments throughout. They aren’t over the top or anything, but fit neatly within the gritty, down to earth realm of crime-thrillers. What makes them work so well, however, is the strong emotional core that comes attached. Even though the plot is a basic, “guy protects daughter from the life of crime,” story, the emotional connection between Nate and Polly give She Rides Shotgun real, tangible stakes.
As we watch Nate and Polly’s relationship/bond grow throughout the film, it becomes impossible to not hope for everything to work out. You want to see Nate become the father Polly wants—needs—him to be, while crossing your fingers she finds a different path. Even as you know, realistically, there’s no possible happy ending for them, you can’t help but hope for it anyway.
Beyond the script, it’s the powerhouse performances that sell you on this film. Seriously, this is easily some of Taron Egerton’s best work, and Ana Sophia Heger is definitely an actress to watch. How she conveys emotion, even in the silent parts of the film, is impressive and gut-wrenching. Both of them deliver phenomenal work here, which not only compels the story forward, but leaves you feeling raw long after the credits have rolled.
About the only issue I have with the film, is that some of the story elements feel truncated. Almost like this would have worked even better as a limited series, with a longer run time. There are some important story beats (I’m staying vague) that don’t feel like they have enough time to show the impact it should. The characters certainly react appropriately in the moment, but due to the shortened time frame, there are times where it feels like they move on, or get over something, too quickly.
Considering how well the film lands emotional punches to the gut, I’d say the pacing still manages an impressive balance. Still there are some things I would have like to see expanded on.
