Sweet Girl's Mind-Boggling Twist Makes the Movie... Feminist
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.

In a bid to bring back life to their town after seeing its population dwindle in recent years, the manager of a shopping mall in northern Saitama Prefecture and the executive director of the Honjo Chamber of Commerce start a project to put together an improvised jazz band from local citizens. A former music teacher (Shimizu Shogo) is coerced into becoming the band leader, but the other prospective members are all elderly amateurs with little knowledge of music.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
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The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.