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Ride Like a Girl

Ride Like a Girl

Drama · 2019

The story of Michelle Payne, the first female jockey to win the Melbourne Cup.

Movie details

Ride Like a Girl

“Never give up”

2019 Drama 1h 38m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

The story of Michelle Payne, the first female jockey to win the Melbourne Cup.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Ride Like a Girl?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Penguin Bloom

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Pride

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Coach Jim Ellis shocks the community and changes lives when, aided by a local janitor, he sets out to form Philadelphia's first black swim team. But the odds are against them as they battle rigid rules, racism and more.

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On the brink of the First World War, Albert's beloved horse Joey is sold to the Cavalry by his father. Against the backdrop of the Great War, Joey begins an odyssey full of danger, joy, and sorrow, and he transforms everyone he meets along the way. Meanwhile, Albert, unable to forget his equine friend, searches the battlefields of France to find Joey and bring him home.

Big George Foreman

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Eddie the Eagle

Eddie the Eagle

Drama · 2016

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Where it lives

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Names above the title

The people responsible.

Directed by

Rachel Griffiths

Written by

Andrew Knight · Elise McCredie

Teresa Palmer

Teresa Palmer

Michelle Payne

Sam Neill

Sam Neill

Paddy Payne

Sullivan Stapleton

Sullivan Stapleton

Darren Weir

Magda Szubanski

Magda Szubanski

Sister Dominique

Genevieve Morris

Genevieve Morris

Joan Sadler

S

Stevie Payne

Stevie Payne

G

Gryffin Morrison

Young Stevie Payne

Court is in session

Put Ride Like a Girl on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.