Cameron Wayne Johnson’s review published on Letterboxd:
Yeah, and when a white Scotswoman wants to play country music, they call her "Wild Rose"! Let's not get too eager with the diversification of a music genre that originated the titular term for a mulatto woman, but as Emily West allegedly helped defeat Santa Anna (albeit through honeypotting), there's some victory in Texas giving a Black woman a more empowering legend than this Asian girl. This tiny Texas town is still the only home Eva Noblezada's Rose Garcia has ever known, the undocumented Filippina teenager dreaming of leaving to make her name in country music. Alas, having the surname Garcia is enough to get on ICE's radar, as Rose returns from a trip to Austin with a mutual crush to discover her gentle mother being brutally taken into custody. Miss Saigons unite, as Lea Salonga enters as Rose's aunt, extending support that her cautious husband keeps striking down as the cold, hard system starts closing in. With nowhere else to go, Rose heads back to Austin to be mentored in overcoming her stage fright, that she may come out of hiding with the ultimate weapon against stern immigration policy: a honky-tonk fanbase! No, this is tonally more in line with classic country music, but it panders almost as much as new country.
This is a fundamentally formulaic amalgam of clichés in immigration, coming-of-age and music drama, a bit too cluttered for attempts at intimacy to make a huge difference. The plot's focus is of course muddled, as this jars between genres and subplots so inorganically that it sometimes feels like there's a hole in the respective flow of the arcs. The points are certainly well-motivated and impactful, though that partially comes back to the predictability, as well as the tendency to slip into rather broad-handed melodrama. Naturally, those hands are at their heaviest with the social drama, that tenderly realistic character study sometimes being broken by some sort of Orwellian action sequence with brash moral alarmism, or more quietly hijacked by broken-voiced testimonies about the evils of the American "criminal immigration" system. This has every right to be so one-sided and visceral, but those nuggets of noble propaganda really show the insecurity of a big-hearted underdog coming-of-age. That comes with its own romantic contrivances and plot device supporting roles, which wear down a plot that's trying to rise per chance to lift spirits with it. The film overreaches in too many areas, but I really admire its tastes, particularly of the musical variety.
Not sure if anyone's noticed, but I'm from the South, so I really dig this film's occasional stoop to top-notch neotraditional honky-tonk ditties to keep energy up, as well as beautifully introspective, cleverly written and soulfully performed ballads that tell the story. The tone of that song selection translates to Christopher Hoyt Knight's either melancholy or jaunty score, even direction that mingles the stride of a road movie with the quiet dignity of character study. The tonal extremes overlap in various ways throughout this coming-of-age social drama, too often telegraphing its aggressive humanist sentiments, and just as often sharpening real heartbreak or uplift. Certainly, we ought to continuously scrutinize an overcautious or outright nationalistic bureaucracy that is preying on innocent families and, whatever the hell difference some stack of papers makes, fellow Americans. As often as films of this subject rather hypocritically indict a whole culture by isolating its subcultures, this is centrally an All-American coming-of-age driven by a scrappy underdog story and the kindness of strangers. Plenty of pleasant characters and performances come and go, helping to inform Rose's transformation with personal rises and falls, and the beautiful Eva Noblezada's deeply emotive performance. It's heartbreaking, heartwarming and all around heartfelt, though it does tend to tug a bit too firmly on the heartstrings.
This bloats itself on clichés into a muddled narrative that gets a bit too focused with its heavy-handed social issues and contrived character moments, but with the weight of the themes and characterization, and consistent sincerity in a lovely country soundtrack, moving direction and character developments, and Eva Nolezada's excellent performance, Diane Paragas' questionably titled "Yellow Rose" is an offkey, resonant ballad on a true American struggle.
3.25/5 - Solid