The rodeo is a widely untapped market in the film industry. In the 90s, we had 8 Seconds, a biographical drama starring Luke Perry following the life of legendary bull rider Lane Frost. Of course, one of the most memorable segments from Sacha Baron Cohen’s Borat featured the titular foreigner angering rodeo patrons with an unpatriotic anthem; however, outside of these two examples, I can’t think of a memorable cinematic experience centered on the world of bull riding. It’s a very niche market with a passionate target audience that can feel limiting to filmmakers. Ride succeeds in crafting a story that can appeal to a broad audience using its talented cast and strong characters.
When the youngest member of the Hawkins clan is diagnosed with an aggressive cancer, her family desperately fights to gather the money necessary to get her treatment. Her father John, played by veteran actor C. Thomas Howell, scrapes together every scent he can, but is seemingly unable to raise anywhere near the required funds. Her brother Peter, played by writer and director Jake Allyn, returns home after a long stint in prison. He’s determined to help his little sister, but the family is hesitant to accept him back. Peter’s arc serves as the backbone of the story as he struggles to climb out from the hole he’s dug himself.
Guilt is among the heaviest burdens to bear and cleansing oneself of that guilt can seem an impossible task. It’s a dark subject matter that pairs well with the gritty realism and atmospheric tone of Ride. Jake Allyn is clearly knowledgeable about the world he’s crafted, leaning into his Western roots and taking inspiration from the classic neo-noir Westerns that came before him. It’s stylistically reminiscent of early Coen brothers films, building tension through a snowballing chain of events.
C. Thomas Howell stands out as the shining star of the film. He successfully conveys the desperation of a patriarch facing multiple demons. The walls are closing in, the options are dwindling, and time is running out. He carries the weight of the film’s emotional core on his shoulders, and if audiences don’t believe the desperation and agony he’s experiencing, then the film fails. The beautiful use of the film’s score enhances the performances, which amplifies each moment while maintaining the Western aesthetic.
The story is as much a critique of the American Health Care system as it is a character study. The idea that a family would be pushed to such extreme measures simply to afford the necessary care to keep their daughter alive is an absurd and disgusting reality that too many families have experienced. Much like Denzel Washington’s John Q from 2002 or television’s Breaking Bad, we see ordinary people pushed into extraordinary circumstances in order to pay for life-saving medical treatment.
Ride isn’t a perfect film, but its imperfections are well suited to its gruff and gritty world. Jake Allyn proves he’s as talented behind the camera as he is in front of it. His understanding of the cowboy bravado and how it clashes with modern ideals is compelling, and I look forward to seeing what else he has to offer in the genre.
