Sorry We Missed You (2019)

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.

Marshall calls it one of Ken Loach’s best films. He singles out Loach’s continued collaboration with writer Paul Laverty.

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.

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.

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.

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.

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.

Johnston presents the film as a grimly compelling critique of the gig economy. He singles out Paul Laverty’s thoroughly researched script for praise.

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.

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.

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.

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.

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.

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.

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.

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.

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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.

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.

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.

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.

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.