Taron Egerton has built an impressive autobiography since he penetrated the scene with “Kingsman” by Martio von – one of those films that seemed to be out of anywhere and many of us dazzled with a countryside on this type of espionage, and we gave some unforgettable scenes. Now, the movie was not the best show for its representative sectors, although it still brings a great deal of magic. But there was a risk that it could have easily became a single wonder. Recently, it was in the “Black Bird” of Apple TV+, which allowed him to show his skills and showed that, although I am still not going to say that he has Oscar’s potential, he is not far away.
“It is riding a gun” (2025) is another example of its capabilities as an actor – it is a movie in which a lot of influence comes from shows. You can the scenario the narrowest dialogue and the most ideal rhythms, but without chemistry and seriousness from the actors, all of the hollow rings. Fortunately, Tarun Egon and Anna Sophia Hegel have this chemistry. EGERTON brings calm and sick tenderness for his role, which is the type of existence that makes you believe that he has the ability to violence and deep care. He spends a lot of operating time trying to calm, shield and explain – a failure, but always try – and the moments of weakness that help sell his arch from the deprived mediator to the loyal guardian.
On the contrary, Anna Sophia Hegel is the emotional Lodestar of the film. Its performance is one of the best offers that I saw a while ago: significantly, economically and permanently expressive. It transmits a set of conflicting emotions – ear, resentment, curiosity and longing – without talking about one line. Her face and small gestures carry full scenes, and the film greatly benefits from the self -control that it brings. It is a shame that this type of work has not yet reached a wider audience. Supporting turns is also worth mentioning. Carroll Lynch, although it has a limited time on the screen, it makes a chilling discount. His portrayal is quietly, and it is a reminder that the effective evil is not really much intelligence as much as a quiet condemnation. Rob Yang provides a steady and bodily turn as the policeman tries to decipher chaos.
We also get a lot of procedures here, and guns play a frequent role. Early, there is a scene trying to steal a gas station store. A passerby notes theft, pulls a gun, and begins to shoot it – it seems without regard to the fact that they are at a gas station and they speed up weapons near fuel pumps. I believed in a big explosion, which confirms how the movie sometimes plays with our expectations in the logic of the work movie.
The choice of passers -by continues to open the fire at the next rhythm, when he shoots towards the car where our little girl sits. At that point, I was not sure whether he was trying to save today or simply cause more chaos. Such moments confirm frequent tension in the movie: He wants to balance bold realism with pulp excitement, and the line between the two is not permanent.
With the progress of the film, the scope of violence expands. There is a big confrontation near the end in which the bullets fly, are brutally beaten by people, and multiple stab wounds, and a special wound is particularly on one character – it may be difficult for sensitive viewers. The escalation is accompanied by the film at a relatively weak pace. What begins as a survival story that focuses on the character slowly turns into something more cruel and more brutal in an effective way, as the risks are corrected and the emotional accounts are forced.
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Initially, you might not think any of this would happen. I certainly did not expect things to rise quickly to such violent lands. The film throws us at the event and we follow a father recently released from somewhere that implicitly imprisoned. His wife was killed by a dangerous gang called Arian Steel, which he once associated with, and takes his daughter to safety. This basic hypothesis is integrated and effective: a man tries to overcome his past while protecting the only person who truly depends on him.
However, it proves difficult safety. Both the gang and the police after it, which creates the narration of the chase of the layers as the danger is not monochromatic. This interaction between criminal and law enforcement complicates the father’s options, and the film uses this pressure to explore accountability, loyalty and redemption. What reveals is the story of survival and sudden tenderness, as this father who was cut off tries to form a bond with his daughter, who is truly suspicious of him. This lack of confidence creates friction and nurtures the essence of the emotional movie. Over time, it gets closer, and the development of fragile intimate relationship, which is the most human element in the film, becomes in depression.
There are simple disadvantages. Some sequence of procedures repair credibility, and some amenities of conspiracy calm the road to the end very little. Although the brutal scenes of the film serve a narrative purpose, they may be out of those who prefer to stir less brutal. However, this is coming next to what the film achieves emotionally: a certified bond, which was slowly fixed between two letters with all the reasons that must be broken.
On the artistic side, director Nick Roland does a great job in building jobs. It resists the desire to excessive joining and tends to tell visual stories, allowing tension to accumulate. Film photography prefers silent paintings and intimate framing, making the audience tightly aligned with the two threads. The simple Blanck Mass degree is to highlight another. It skillfully increases discomfort without dominating at all, allowing quiet moments to feel heavy and a feeling of strikes to feel the head. Editing, sometimes, is obscured by the information intentionally to keep mystery, but this can also leave an unequal feeling – some viewers may find that the first verb is slow and the final verb presses
In the end, the movie – especially because of the main shows, won the most prominent of which is Anna Sofia Hegel. It is worth checking viewers who appreciate the excitement that the character drives with a dark, uncompromising edge. If you come to get the procedure, you may find more than you expected; If you come to act, you may leave a fan of strong central performance.
Read more: Supergun (2025) has shown an end: Is “God Slabtown” a criminal?
Film links (2025) ride: IMDBSpiritual tomatoes, Wikipedia, Letterboxd
It’s a rifle (2025) Actor: Tarun Ergon, Anna Sophia Hegel, Rob Yang, Odessa Izion, David Lyon, John Carroll Lynch
The Venice horse (2025) that was released on August 1, operating time: 2H 0M, type: movement/ambiguity and excitement
Where do you see it riding a gun
