---
title: "Sorry We Missed You"
year: 2019
kind: "film"
canonical: "https://film.one/film/sorry-we-missed-you"
fi1m_id: "sorry-we-missed-you"
imdb_id: "tt8359816"
tmdb_id: 522369
wikidata_id: "Q56604161"
fi1m_score: 82
critics_score: 74
critics_reviews: 23
published: "2026-10-03T00:57:37.748304+00:00"
updated: "2026-10-03T00:57:38.669829+00:00"
region: "HK"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Sorry We Missed You (2019)

Directed by Ken Loach · 1h 41m · OFNAA IIB · Drama

## Identity

Sorry We Missed You

- **Canonical:** https://film.one/film/sorry-we-missed-you
- **Type:** Film
- **Fi1m ID:** sorry-we-missed-you
- **IMDb ID:** tt8359816
- **TMDB ID:** 522369
- **Wikidata ID:** Q56604161
- **Same entity:** https://www.imdb.com/title/tt8359816/, https://www.themoviedb.org/movie/522369, https://www.wikidata.org/wiki/Q56604161

**Fi1m score: 82** · Critics 74 from 23 reviews

*In a sentence:* A parcel arrives on time, and an entire family pays for it

> Ken Loach makes the damage done by insecure work painfully clear, helped by a cast who make the family worth caring about. The accumulated setbacks can feel arranged, but the anger is earned.

## Synopsis

Ricky (Kris Hitchen) is trying to support his family through delivery work, dealing with customers while the job makes demands on his time. At home, Abby (Debbie Honeywood), Seb (Rhys Mcgowan) and Liza Jane (Katie Proctor) share the pressure. Delivery and care work shape the household’s days, leaving the family to fit its needs around those of other people. Maloney (Ross Brewster) spells out what the job expects. Ricky wants his efforts to give the family some security, but making a living increasingly leaves him less time to spend with them.

## Review

*Sorry We Missed You* is a forceful, humane drama, with performances that keep it worth watching when the writing becomes too insistent. Ken Loach and writer Paul Laverty follow the pressures of insecure work into family life, where earning a living begins to hurt the people it is meant to support. Delivery and care work give the film its subject, and the ordinary demands of employment supply much of its tension. We recommend it, with a warning that the succession of setbacks can feel arranged.

Kris Hitchen gives Ricky enough humour to keep him from becoming merely a man to feel sorry for. The customer encounters are important for that reason: we get some sense of the person doing the job, beyond the difficulties of getting it done. Such exchanges let the film breathe without pretending the pressure has disappeared. His approachable performance makes the family scenes more involving. We have reasons to care about Ricky before the setbacks accumulate.

Debbie Honeywood’s Abby is the strongest reason to stay with the film when the writing grows forceful. She makes the exhaustion and anger credible without making Abby seem incapable of tenderness. Rhys Mcgowan as Seb and Katie Proctor as Liza Jane help the family scenes feel awkward and affectionate without making them cosy. The affection matters because it gives us something to worry about losing when work begins to crowd everything else out.

Robbie Ryan’s cinematography has a documentary-like plainness, which suits a drama that asks us to pay attention to ordinary work. Fergus Clegg’s production design shares that lack of fuss, helping the family scenes feel lived in without making hardship the only thing to notice. Jonathan Morris’s editing keeps the demands of employment close to their consequences at home, giving the film a firm pace across its 101 minutes. George Fenton’s score is less memorable than the voices, which is no failing in a film so dependent on the credibility of its performances.

The trouble is how determined Paul Laverty is to leave us in no doubt about the damage. As setbacks accumulate, there is less room for the casual family observation that makes the earlier passages persuasive, and Seb’s difficulties are pushed particularly hard. The film sometimes appears to have decided what each person must suffer before letting them get on with living. That matters in social drama: if every difficulty seems prescribed by the writer, we can start resisting events we might otherwise believe.

Ross Brewster’s Maloney shows how well the blunt approach can work when it has a clear target. We were angry at his callous speech about work, because it makes the needs of the worker sound like an imposition. The writing scarcely disguises its purpose there, but the performance makes that attitude credible. See it when there is time to talk afterwards; it is poor preparation for an early night.

*Fi1m score 82, published 3 October 2026.*

## What the critics say

Most critics find Sorry We Missed You an affecting, angry account of how gig-economy work strains family life. Praise centres on the cast’s natural, understated performances and Ken Loach’s attention to the daily pressures of precarious employment. Paul Laverty’s researched script also earns approval for making working conditions concrete. For many reviewers, the domestic detail, humour and compassion make the political case persuasive rather than merely instructive.

The spread is wide, though, and the chief disagreement concerns how heavily the story loads hardship onto its family. Even some favourable reviews find the accumulating setbacks melodramatic or the plotting too calculated. Little White Lies sees a relevant social critique weakened by blunt, soapy storytelling, while The New Yorker goes further, arguing that the characters lack independent voices and fuller lives. The divide is between critics who find the family convincingly observed and those who see people reduced to illustrations of exploitation.

## Straight answers

**Is Sorry We Missed You worth watching?**

*Sorry We Missed You* is worth watching for its humane performances and forceful account of insecure work damaging family life; we score it 82. We recommend it to viewers who want an involving social drama, with the caveat that its accumulating setbacks sometimes feel arranged to make the point harder to miss.

**How long is Sorry We Missed You, and what is it rated?**

*Sorry We Missed You* runs 1h 41m and is rated IIB by the OFNAA in Hong Kong. It is a drama film.

**Where can I watch Sorry We Missed You in Hong Kong?**

*Sorry We Missed You* is available to rent from Apple TV from HK$38.00. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Sorry We Missed You, and is it suitable for children?**

*Sorry We Missed You* has a UK 15 certificate, making it unsuitable for children under 15. Its emotional pressure comes from exhausting work, family strain and anger rather than anything we would describe here as horror; we cannot give a specific violence warning from those details alone. We recommend it for older teenagers and adults prepared for a distressing social drama.

**How does Sorry We Missed You compare to Bicycle Thieves?**

*Sorry We Missed You* is a forceful companion to [*Bicycle Thieves*](https://film.one/film/bicycle-thieves), though we recommend the latter more warmly for its father-son performances. Both show poverty putting pressure on a working father; *Sorry We Missed You* gives delivery work, care work and the wider household more attention. Its repeated setbacks are our reservation, whereas the music is our caveat with *Bicycle Thieves*.

**What should I watch after Sorry We Missed You?**

After *Sorry We Missed You*, try [*Bicycle Thieves*](https://film.one/film/bicycle-thieves) (1948, Fi1m 93): A working father’s search exposes how quickly poverty makes ordinary decency difficult. Then [*Two Days, One Night*](https://film.one/film/two-days-one-night) (2014, Fi1m 88): Another worker’s livelihood depends on people who can barely protect their own; and [*Riff-Raff*](https://film.one/film/riff-raff) (1991, Fi1m 77): Building-site humour gives precarious workers the unruly lives a political argument might flatten.

### Reviews we read (23)

- **The Hollywood Reporter**, David Rooney (94/100, inferred): Rooney calls the film expertly judged, profoundly humane, and deeply affecting. He singles out its emotionally devastating portrayal of how gig-economy work damages family life. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/sorry-we-missed-you-cannes-2019-1211221/)
- **Screen Daily**, Lee Marshall (90/100, inferred): Marshall calls it one of Ken Loach’s best films. He singles out Loach’s continued collaboration with writer Paul Laverty. [Read](https://www.screendaily.com/reviews/sorry-we-missed-you-cannes-review/5139521.article)
- **The Guardian**, Peter Bradshaw (90/100, inferred): Bradshaw calls the film brilliant, gripping and emotionally devastating, while noting a political qualm about its treatment of Brexit. He praises the performances’ simple dignity and the film’s vivid, researched portrayal of precarious work. [Read](https://www.theguardian.com/film/2019/may/16/sorry-we-missed-you-review-ken-loach)
- **Variety**, Shalini Dore (90/100, inferred): Dore finds the film a fraught, touching, and galvanizing drama about the gig economy’s damage to working families. She particularly praises Loach’s lived-in depiction of precarious labor and its growing strain on family life. [Read](https://variety.com/2019/film/reviews/sorry-we-missed-you-review-ken-loach-1203217397/)
- **Slant Magazine**, Pat Brown (3.5/4): Brown calls the film a powerful, enraged appeal for action against the forces eroding workers’ rights. The review praises its understated, realistic performances and its portrayal of how precarious work damages family life. [Read](https://www.slantmagazine.com/film/sorry-we-missed-review-ken-loach/)
- **Los Angeles Times**, Robert Abele (85/100, inferred): A blisteringly human and emotionally wrenching film, the review says, makes its critique of modern work feel honest rather than schematic. It singles out the central cast’s gritty, humorous and sensitive performances as a source of the family drama’s force. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-03-05/sorry-we-missed-you-review-ken-loach)
- **Evening Standard**, David Sexton (4/5): Sexton calls the film first-rate agit-prop, praising its forceful attack on the gig economy. He highlights Abbie’s angry speech as a particularly powerful moment. [Read](https://www.standard.co.uk/culture/film/cannes-2019-sorry-we-missed-you-review-ken-loach-takes-on-the-gig-economy-in-hard-hitting-drama-a4142901.html)
- **Radio Times**, Trevor Johnston (4/5): Johnston presents the film as a grimly compelling critique of the gig economy. He singles out Paul Laverty’s thoroughly researched script for praise. [Read](https://www.radiotimes.com/movie-guide/b-aywdvc/sorry-we-missed-you/)
- **The i Paper**, Demetrios Matheou (★★★★): Matheou finds the film an angry, shaming and essential drama about exploitation in the gig economy. He particularly praises the inexperienced actors and Loach’s handling of them, while noting that the family’s personal failings also contribute to its crisis. [Read](https://inews.co.uk/culture/film/sorry-we-missed-you-review-ken-loach-uk-release-date-357082)
- **Time Out**, Dave Calhoun (4/5): Calhoun finds Ken Loach in blistering form, calling the film a gripping indictment of the modern gig economy. He singles out its forceful critique of the conditions facing workers in that economy. [Read](https://www.timeout.com/movies/sorry-we-missed-you)
- **Total Film**, Jordan Farley (4/5): Farley praises the film as a powerful, righteous indictment of the gig economy. He singles out the unknown cast’s convincing performances, while noting that some family setbacks veer into melodrama. [Read](https://www.gamesradar.com/sorry-we-missed-you-review/)
- **IndieWire**, Eric Kohn (B): Kohn finds the film a timely, poignant portrait of working-class hardship, despite its overly calculated and didactic plot. He praises the performances, particularly Debbie Honeywood’s commanding work in the final stretch. [Read](https://www.indiewire.com/features/general/sorry-we-missed-you-review-ken-loach-cannes-2019-1202141882/)
- **Empire**, Beth Webb (75/100, inferred): Webb regards the film as a crucial, empathetic and timely rallying cry, despite its relentless tone. She praises its compassion for the family and its vivid depiction of gig-economy pressures, while finding Seb’s character arc excessive. [Read](https://www.empireonline.com/movies/reviews/sorry-we-missed-you/)
- **Sight and Sound**, Trevor Johnston (75/100, inferred): Johnston finds the film a nuanced, troubling and accomplished portrait of austerity and the gig economy. He praises its adept construction and unshowy direction for letting the family’s experiences carry the film’s ideas. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/sorry-we-missed-you-review-ken-loach-counts-cost-striving-austerity-britain)
- **The AV Club**, A.A. Dowd (B-): Dowd finds the film an involving, empathetic portrait of working-class life, but says its relentless piling-on turns its message into self-parody. He praises the carefully observed family moments, the cast, and the humor in Ricky’s customer encounters. [Read](https://www.avclub.com/ken-loach-grinds-another-honest-man-under-the-cruel-gea-1842102000)
- **Vulture**, Bilge Ebiri (70/100, inferred): Ebiri finds the film enraging but deeply compassionate, calling it one of Loach’s best. He praises its vivid, humane portrait of people caught in the gig economy’s machinery. [Read](https://www.vulture.com/2020/03/movie-review-ken-loachs-sorry-we-missed-you.html)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so its critical verdict is unavailable. No praise or complaint can be verified from the supplied content. [Read](https://www.rogerebert.com/reviews/sorry-we-missed-you-movie-review-2020)
- **The New York Times** (64/100, inferred): The page exposes no critic verdict, so its assessment cannot be established. No specific praise or complaint is available in the accessible text. [Read](https://www.nytimes.com/2020/03/04/movies/sorry-we-missed-you-review.html)
- **Little White Lies**, Adam Woodward (3/2/1): The critic finds the film’s social critique relevant but undermined by blunt, soapy storytelling. He singles out Maloney’s callous speech as a standout scene, while faulting the film’s heavy-handed delivery. [Read](https://lwlies.com/reviews/sorry-we-missed-you)
- **The New Yorker**, Richard Brody (20/100, inferred): Brody argues that the film’s empathy for its working-class characters feels artificial and reduces them to ciphers. He faults Loach for suppressing their voices and leaving their wider lives and perspectives largely absent. [Read](https://www.newyorker.com/culture/the-front-row/the-way-back-and-sorry-we-missed-you-reviewed-two-oblivious-depictions-of-the-working-class)
- **Paste**, Andy Crump (8.9/10): Crump praises the film as an incisive, anger-provoking portrayal of working-class lives trapped by the gig economy. He singles out its humanizing depiction of the delivery and care work that underpins consumer convenience. [Read](https://www.pastemagazine.com/movies/ken-loach/sorry-we-missed-you-review)
- **HeyUGuys** (65/100, inferred): The critic finds the film an effective, bleak portrait of gig-economy hardship, despite occasional weaknesses in the acting. They praise the natural performances of the young actors and the documentary-like visuals. [Read](https://www.heyuguys.com/sorry-we-missed-you-review-2-ken-loach/)
- **The Wrap** (40/100, inferred): The critic finds the drama timely but blunt and wearying, with little fresh to say. They praise the natural performances, especially Debbie Honeywood’s profane, crowd-pleasing outburst. [Read](https://www.thewrap.com/sorry-we-missed-you-film-review-once-again-ken-loach-sings-the-working-class-blues/)

## Details

- **Director:** Ken Loach
- **Director:** Ken Loach
- **Writer:** Paul Laverty
- **Cinematography:** Robbie Ryan
- **Editor:** Jonathan Morris
- **Music:** George Fenton
- **Production design:** Fergus Clegg
- **Costume design:** Jo Slater
- **Producer:** Rebecca O'Brien
- **Cast:** Kris Hitchen as Ricky; Debbie Honeywood as Abby; Rhys Mcgowan as Seb; Katie Proctor as Liza Jane; Ross Brewster as Maloney; Charlie Richmond as Henry; Julian Ions as Freddie; Sheila Dunkerley as Rosie
- **Runtime:** 1h 41m
- **Certificate (OFNAA):** IIB
- **Release (Hong Kong):** 19 March 2020
- **Genres:** Drama
- **Box office:** $9 million
- **Trailer:** https://www.youtube.com/watch?v=kzkYwJH91xE

## Where to watch in Hong Kong

- Apple TV: rent HK$38.00, hd
- Apple TV: buy HK$118.00, sd

*Checked 2026-10-03.*

Also available in: AE, AT, AU, BE, CA, CH, CO, DE, DK, FI, FR, GB, HK, IE, IT, JP, NL, NO, NZ, PA, SE, SG, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- Gaudí Award for Best European Film 2021: Gaudí Award for Best European Film (won)

## If you liked this

- *Bicycle Thieves* (1948), Fi1m 93: A working father’s search exposes how quickly poverty makes ordinary decency difficult. — [Fi1m page](https://film.one/film/bicycle-thieves.md)
- *Two Days, One Night* (2014), Fi1m 88: Another worker’s livelihood depends on people who can barely protect their own. — [Fi1m page](https://film.one/film/two-days-one-night.md)
- *Support the Girls* (2018): Service work, unreasonable demands and colleagues finding small ways to look after one another.
- *Tokyo Sonata* (2008): Unemployment enters a family home where nobody knows how to discuss it.
- *Riff-Raff* (1991), Fi1m 77: Building-site humour gives precarious workers the unruly lives a political argument might flatten. — [Fi1m page](https://film.one/film/riff-raff.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/sorry-we-missed-you