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Edit Did You Know? Personal Quote: As a feature film director you got to be a guarding dog of the whole production. You got to be able to hold script pages in the head at the same time. Then he makes good on his promise. What's initially fascinating about "Sweet Girl" is that even though it gives us a hero with commando-level combat training, it makes him a real person who stumbles and fails and has to recover from injuries, and turns him loose in a real world where guys like Keeley have tons of security, and the laws of both economics and physics prevent enemies from easily getting close enough to inflict a killing blow.
On top of that, this film is not set in a comic-book universe where actions have no consequences. The first time Ray tries and fails at doing something, he's marked by the authorities as a deadly threat to the greater good, and he and his daughter spend the vast majority of the film on the run from the authorities, calling significant allies on shadily-acquired burner phones delivered to remote stretches of woodlands where the duo is living out of Ray's vintage muscle car.
There are times when the movie can't resist making Ray a borderline-superhero who makes incredible saves and improvises his way out of tight spots that would vex James Bond himself. But for the most part, the movie tries to keep things at least remotely believable.
And Momoa is such a grounded, earthy actor—a broad-shouldered, sad-eyed, working class hero-type, more reminiscent of Burt Lancaster , Anthony Quinn , and other actor-bruisers from earlier eras than a standard-issue 'roided-up action figure. He's far more compelling when Ray is weeping in a hospital hallway, or snarling at his daughter for refusing to get out of the car when he's about to go on a killing mission, than when he's doing the whirling dervish thing that we've come to expect from characters like this.
The action, in fact, is the least satisfying aspect of the production. The fight choreography and chase scenes are imaginatively choreographed, and sometimes invigoratingly awkward, with Ray and various combatants including an Anton Chigurh-like loner assassin played by Manuel Garcia-Rulfo crashing through windows and walls and tumbling down stairwells and rising up at the end looking well-and-truly stomped.
But they tend to be shot and cut in a " Taken " mode, with the camera swinging wildly and the edits falling in odd spots that suggest that the main goal was to camouflage the fact that they didn't have as much time or money as they wanted. A bigger problem is that the film becomes less anchored in simple human emotion as it goes along, padding out its running time with what turn out to be narratively unnecessary side quests and time shifts, and unveiling a series of twists that might be less exhilarating than annoying for viewers who had become sincerely invested in the humanity of the lead characters.
Considering the skill and feeling that the main actors—particularly Momoa, Garcia-Rulfo, and Merced—bring to every scene, it's depressing to see them pour their efforts into convincing audiences to believe ridiculous things rather than cleave more tightly to recognizable feelings and situations. Merced in particular does heroic work fortifying nonsense. This is a perfect time in U. Rated R for some strong violence, and language.
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