‘She Rides Shotgun’ Review: Fierce Work from Taron Egerton and a Breakout Turn from Ana Sophia Heger

She Rides Shotgun is a crime drama that doesn’t reinvent the wheel, but it sure knows how to drive it hard. It’s also a showcase of two extraordinary performances — one from a seasoned star in Taron Egerton, and one from a child actor who delivers work so raw and affecting it lingers long after the credits roll.

Directed by Nick Rowland, the film follows Nate (Egerton), a convict fresh out of prison who finds himself thrust into a deadly game of survival with his 11-year-old daughter Polly (Ana Sophia Heger) riding shotgun—literally and emotionally. What begins as a gritty chase across New Mexico quickly evolves into something more intimate: a story about fractured family, redemption, and the kind of bond forged under fire.

The plot itself leans heavily on familiar tropes: the ex-girlfriend who can’t be trusted, the morally ambiguous cop (Rob Yang), and the sadistic sheriff (John Carroll Lynch) who seems to enjoy his work a little too much. These elements are well executed, but they don’t surprise. However Rowland stages his action with grit and precision. Gunfights are messy, car chases are jagged, and violence is sudden and ugly.

Yang is quietly sharp as a cop who treats life-and-death choices with chilling pragmatism, while John Carroll Lynch is utterly menacing. These characters are effective foils, though the film always snaps back to Nate and Polly. It’s their dynamic that carries the weight, and their moments of uneasy tenderness that give the violence meaning.

Egerton has never been better. Known for his versatility across action and drama, here he finds a role that lets him flex both. Nate is dangerous, sometimes frighteningly so, yet Egerton allows flickers of tenderness to shine through. It’s the sort of layered performance that grounds the film when the genre trappings threaten to take over.

Ana Sophia Heger gives a breakthrough turn that’s nothing short of remarkable.

But for all of Egerton’s firepower, the revelation is Ana Sophia Heger. Playing Polly, she delivers one of the finest child performances in recent memory. She’s not just reacting to the chaos around her — she’s commanding it, navigating fear, resilience, and heartbreaking vulnerability with startling conviction. In the film’s closing moments, the camera lingers on her face in silence, and the pain and vulnerability she communicates without a single word is astonishing.

Visually, the film is sharp, Wyatt Garfield’s cinematography adds tension without overplaying it. The screenplay, adapted from Jordan Harper’s novel, moves briskly keeping the stakes high and Rowland’s control over tone is impressive. The film never loses sight of its emotional core, even when the bullets start flying. Nate’s attempts to shield Polly from the chaos are heartbreaking, especially when it becomes clear she’s already seen too much. Whether he’s dyeing her hair to help her hide or teaching her how to swing a bat for self-defense, his love is unmistakable—even if it’s expressed through survival tactics.

She Rides Shotgun may not break new ground in the crime genre, but it digs deep into the emotional terrain of its characters. Egerton is fierce, but Heger gives a breakthrough turn that’s nothing short of remarkable. Together they carry a film that’s as bruising as it is unexpectedly tender. It’s a ride worth taking.

She Rides Shotgun is currently out on digital in the U.S., though details on a U.K. release are yet to be confirmed.

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