Sorry We Missed You



IMDb Rating 7.7 10 4,549


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February 1, 2020



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882.62 MB
23.976 fps
101 min
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1.73 GB
23.976 fps
101 min
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Movie Reviews

Reviewed by helenbassett 10 / 10 / 10

Sorry We Missed You Film Review - Ken Loach Directs Boris Johnson's Made In Britain Conservative Election Campaign - By The Greatest Social Dramatist Of Our Time

I'm sure that Ken Loach never expected himself to be directing Boris Johnson's Election campaign in Sorry We Missed You. This is Made In Britain Tory style. Ken took a swipe at the necessary (as it didn't affect them) benefit cuts meted out to the poor and vulnerable in I, Daniel Blake. And here he shows real life outside the London and South East bubble for the working-class poor of the North-East. Even a dog has three legs. Sorry We Missed You looks at the dog end of the Tories' policies where two thirds of workers are paid less than £20,000 a year. Well below the national average. When we should have been spending to invest in Britain, Tory Chancellor George Osborne was cutting. And instead of a workforce building and making a better Britain, and all paying tax. We have a new workforce of self-employed delivery drivers. Sorry We Missed You spotlights the much trumpeted GIG economy that helps fill that demand. And while Germany makes cars, Britain delivers parcels on zero hour contracts. Kris Hitchen's Ricky Turner could have been part of the workforce that rebuilt Britain, but after the 2008 financial crash he lost his building job. Afterwards with wife Abbie played by Debbie Honeywood, they lost their arranged mortgage when Northern Rock went under. Now they rent a terrace house with their two kids, and try to keep their heads above water. Having worked all his life and never been on the dole Ricky now gets the opportunity to 'come on-board' as a driver in a great delivery opportunity. The terms and conditions are as bad as you can imagine and don't include a bottle for bathroom breaks, provide that yourself with the van, as you won't get any breaks. Time is his money and if he doesn't make the deliveries on time he'll get his pay docked. But he's reminded by the b****rd manager that this is a great self employment gig. We know all about these 'self-employed' GIGs. Ricky can rent a van from the company at £65 a day or buy his own. But with the thought his hard work can help them out of their financial debts, Ricky goes ahead and sells Abbie's car to get £1000 deposit for his own van. Fantastic, except Abbie is a home carer and her workday starts at 6:30 and ends at 21:30, and now she's on the bus. Abbie's job is not for the faint hearted and she treats her care in the community clients the way she would treat her mother. This the coal face of our economy. Underpaid and under appreciated. As long as the families don't actually have to do the caring everyone's happy. Keeping food on the table and a roof over their heads is hard enough for Ricky and Abbie, but their children see the stress their parents are under and it affects them equally. Rhys Stone's Seb is a would-be Banksy with a bad attitude towards society and is completely uninterested in school. Why get £57k into debt going to University and then working in a call centre he says to his parents. Only to spend the weekend drinking to make up for life's disappointments. Ken Loach covers it all. And little poppet Katie Proctor is a studious daughter, but although not rebellious, her trauma is as profound. There seems no end to the agony of this lifestyle. And while Ricky is good at his job, his customers can be arses, and my god it will make you think when that poor delivery person brings your next parcel. And being conscientious at work doesn't count for jack when he needs support for his family. And Ken even gets to give us a little A&E action, but they really are angels. Even with the wait. Most of the actors seem to be in their first acting jobs so the film had a sort of real life documentary feel about it. And I watch a lot of movies but I came out of Sorry We Missed You absolutely shellshocked. I started adding sanitary products to food bank boxes after seeing I, Daniel Blake in 2016, but our charity isn't enough for society today. Poor people with nothing are working and still looking out for each other. With rare glimpses of pure happiness among the grit and a touching script by Paul Laverty Sorry We Missed You is a parable of our times that MPs of every party should watch. And then for God's sake act. There is no way out otherwise from the hardship this family and many others in this country face. Bravo once again Ken Loach, the greatest social dramatist of our time.

Reviewed by eminkl 10 / 10 / 10

The film's tragedy is that no amount of love and goodwill can save us when the cards are so horribly stacked against us.

It was only ten years ago, with 2009's larky 'Looking for Eric', that Ken Loach was able to show us a man delivering letters and parcels whose workplace was a refuge for him - a place of camaraderie and solidarity in an otherwise troubled life. It's almost the reverse in his latest, a damning and far darker film. Whenever family life in Newcastle looks to be coming together for Ricky (Kris Hitchen), a Salford-born delivery driver for a private parcels firm, and his wife, Abby (Debbie Honeywood), a carer, it's the world of work that crushes them and pushes them ever closer to breaking point. For both Ricky and Abby, but especially for Ricky, work is rarely rewarding or empowering. It's degrading and damaging, especially when it comes to their relationships with each other and their school-age kids, glass-half-full daughter Lisa (Katie Proctor) and vulnerable son Seb (Rhys Stone) - and the mental health of them all. The film begins with Ricky signing up to a new job - dropping off parcels at breakneck speed around the city. But it's an app-driven posting - a gig-economy non-job - that comes with next to zero benefits: no contract, no confirmed earnings and, worst of all, a series of penalties that kick in if you don't toe the line or meet targets. 'Sorry We Missed You' returns us to the same modern Newcastle of 'I, Daniel Blake'. You can imagine glancing at the characters from that earlier film in the wing mirror of the gleaming white van that Ricky drives all over the city. It feels like a companion piece to that 2016 film. It's the same world, with a different story, and there are specific ways, too, in which the films talk to each other: the work-world jargon spoken over the blacked-out opening credits; an interest in the drama of graffiti; and a key scene in which a main character is pushed to a dehumanising breaking point in public. What's different is the detail with which Loach and his collaborators examine the effects of work and society on the nuclear family. The film's tragedy is that no amount of love and goodwill can save us when the cards are so horribly stacked against us. And that title, 'Sorry We Missed You': of course it's the faux-friendly message left on doorsteps everywhere by parcel delivery firms. But here it also nods to the left behind, to the overlooked, to the forgotten. Loach and his team, including the writer Paul Laverty, demonstrated a new urgency in their work with 2016's 'I, Daniel Blake'. You can feel it again with this powerful, bleak film that feels acutely of the moment but also carries within it the same question that Loach has been asking for more than 50 years: does life really have to be like this?

Reviewed by mhardingyoung 10 / 10 / 10

Heartbreaking but needs to be told.

Another critical analysis of life in England in 2019. Has English society changed at all since Ken Loach' first films in the 60s? It seems not. Heartbreaking, shameful, relatable and tragically so true. We can all relate to the characters,they are our friends and neighbours and think, there but for the grace of god...... The film reminded me of On the Waterfront, with the corrupt 1950s dockside gang masters. How can these working practices have been allowed in England, in the C21st? A decade of capitalist government lade bare, just as the UK decides it's future yet again. Other "reviews" suggest the acting is suspect in places, but I feel this is the film's and LoachKs skill in making the film appear to be so real , so natural, so tragically real. Every scene and every prop had meaning, from the dreadful state of the rented house - why aren't landlords forced to maintain a decent level of decoration and repair. To the fast food of the van dash board- so what is the social and health cost of forcing drivers to work long hours, with no breaks eating sugar filled snacks. To the school who excluded a young man for 2 weeks with no support or, understanding of the causes or support needed. A true essay of English life in 2019. Tragic.

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