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Ride or Die

Ride or Die

Drama · Romance · Thriller · 2021

Rei helps the woman she's been in love with for years escape her abusive husband. While on the run, their feelings for each other catch fire.

Movie details

Ride or Die

2021 Drama · Romance · Thriller 2h 22m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Rei helps the woman she's been in love with for years escape her abusive husband. While on the run, their feelings for each other catch fire.

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 or Die?

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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Original Sin

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In this story-within-a-story, Anna is an actress starring opposite Mike in a period piece about the forbidden love between their respective characters, Sarah and Charles. Both actors are involved in serious relationships, but the passionate nature of the script leads to an off-camera love affair as well. While attempting to maintain their composure and professionalism, Anna and Mike struggle to come to terms with their infidelity.

Crash

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Ryuichi Hiroki

Written by

Ching Nakamura · Nami Kikkawa

Kiko Mizuhara

Kiko Mizuhara

Rei Nagasawa

Honami Sato

Honami Sato

Nanae Shinoda

Yoko Maki

Yoko Maki

Mika Oe

Anne Suzuki

Anne Suzuki

Yu Nagasawa

Shunsuke Tanaka

Shunsuke Tanaka

Masato Nagasawa

Tetsushi Tanaka

Tetsushi Tanaka

Yoshio Akiba

Sara Minami

Sara Minami

Young Rei Nagasawa

Court is in session

Put Ride or Die 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.