'She Rides Shotgun' is a Rough Ride
Here's a movie with failed potential. It has many elements going for it, but a poorly structured opening act can lead to misinterpretation. She Rides Shotgun is a subtle character piece wrapped around the plot of a typical thriller, ending like a mid-level production action film. There's a lot to unpack with this movie, yet it hardly syncs in due to a lack of character logic. We're supposed to understand that Polly Huff (Ana Sophia Heger) is a kid with intelligence. Yet, she makes very questionable decisions that most kids would know to avoid.
The story starts with an ominous narration from Polly about God and man. It's probably some kind of euphemism for her absent father. When waiting for her parents after school, nobody shows up for what may be hours. After a while, a broken-down automobile arrives where a total stranger tells Polly that he's her ride. From the get-go, when she's sitting in a tree, this guy who's probably high on crystal meth asks her to approach him, and she does so willingly? When we get a better look at the man as he emerges from his car, things become more threatening. The man has a shaved head and is wearing a hoodie. Where's the security in the school? Why would they let a little girl sit outside the premises unsupervised? Like any dumb movie abducted kid would do, Polly gets in the car that may lead to her demise.
Understandably, Polly may have felt threatened, so she didn't scream for help, but that still doesn't explain why she almost casually gets in the car with this guy. Moments later, while in defensive mode, Polly keeps her composure, almost ratting this guy out to the cops, but the tweaker stops her with a threat. Fast forward a little later. When sitting alone in some dingy motel, Polly has a bonding moment with this complete weirdo within the span of 24-48 hours? Her parents are missing. This man she's stuck with is not trustworthy, and suddenly she senses that he might be her father? Or does she already know? It's not made very clear.
The film appears to be built around the revelation that Polly has known all along that Nathan (Taron Egerton) is her father. Something that was revealed to me after consulting with another critic, following my viewing of the film. If reading the premise, one would think this is a story about a little girl who's reunited with her estranged father. If you enter the movie blind, the opening structure reveals none of these details until moments later, making you wonder why this little girl would form a bond with Dollar Store Eminem. Furthermore, if you came into this movie with that logic, it wouldn't make Polly any less stupid.
Even if she knew the guy in the car was her father, why would she trust him? He's been in jail for multiple years, unable to provide for her. If you watch the movie, all of these questions are answered, but it doesn't make up for poor storytelling. When we find out why Nathan has been in jail and why he's being hunted, I'm already checked out. We're supposed to believe the relationship between these two is tangible and complicated, but if the protagonist comes off like a gullible fool, how is the audience supposed to take their love seriously? Polly certainly has emotional maturity, but she lacks common sense. When the link between father and daughter doesn't work from the start, then the rest of the movie falls flat.
It's unfortunate that the structure fails, as there's some real talent at hand. Taron Egerton is unrecognizable. The guy has range. He made a great Elton John in Rocket Man and plays this role as fully rounded as one can play it. Although Nathan initially comes across as a predator, he displays a level of compassion that doesn't seem contrived. He's the epitome of people not being what they seem. Ana Sophia Heger, in similar respects, gives a subtle portrayal of a girl who is processing her life as it’s being turned upside down. If only the script had shown her more emotion other than during the big climactic moments. Polly is so defensive that she comes across as robotic throughout most of the movie, which is more the director's fault than the actor's. Give her something to do.
Whatever nuance the film has is thrown out the window in a big climax that has the production value of a low-budget film. In fairness, this is a low-budget picture, but does it need to be visually so flat? There's potential to tell a complicated story about a parental relationship that gets bogged down in conspiracies and gunfire. There's much-needed backstory, along with some quick flashbacks to clarify which character our protagonists are referencing that go beyond the dialog. Usually, I'm one for less is more. However, just a few more on-screen characters would add a ton of flavor to a dull thriller.
