SORRY WE MISSED YOU
Kino Lorber
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Ken Loach
Writer: Paul Laverty
Cast: Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Ross Brewster
Screened at: Critics’ link, NYC, 11/23/20
Opens: March 6, 2020. Streaming June 12, 2020
The rich get money while the poor have babies. You’ve probably heard that expression, but let’s go farther. The poor regularly get screwed up the arse. Let Ken Loach tells you how. As the leading director of working-class films, Loach is not so concerned about people on the dole in the UK, folks who may have drug addiction, disabilities, even laziness in their character, as he is about the ambitious working class. Call the characters in “Sorry We Missed You” people who are considered by some sociologists to be the upper lower class, often poorly educated, with the kind of cockney or otherwise non-King’s English palaver that could not get them hired for office work. Everyone in the cast appears to say “youse,” as though they did not learn even before high school what is the proper word to describe that entity, and they say “innit” instead of “isn’t it.” If they were interviewed for a cable TV documentary targeted toward woke people, they would not likely drop their slang. They do not use these words only for their friends. They are unable to upgrade for a different audience.
So what’s left for Ricky (Kris Hitchen), a member of the gig economy? Looking for a job, he tells the foreman of an Amazon-like delivery company that he would never go on the dole “I’m too proud for that,” and he is hired by Maloney (Ross Brewster) for a job that does not give Ricky even the right to be called an employee. He is an independent contractor, a term that signs cool but means “more exploited than most workers.” He is responsible for providing his own delivery van, since the company van would deduct 65 quid daily for its use. He sells the car of his wife Abbie (Debbie Honeywood) to get the money for a van, never mind that Abbie needs her own vehicle to get her own low-paying job dealing with elderly, some with dementia, in one situation even have to wipe the poop out of a client’s hair and on the walls.
They have a kid Seb (Rhys Stone) who deep down has a good heart and has a circle of friends, but provokes his father, who lays a hand on him just once in his life when the teen trashes him with curses. When Ricky tears away the kid’s phone, Seb is suspected of hiding his dad’s keys, so he could not go to work. The work is grueling. On Ricky’s best day, he is joined by his young daughter Liza Jae (Katie Proctor), who collects tips and loves her new, temporary job. Interesting, isn’t it, how an outsider can romanticize pure hell. Fourteen hours a day, pay your own traffic tickets, deal with snotty recipients of their packages. If Loach had Amazon in mind, he’s probably on the money.
Loach, in short, is no friend of capitalism. Ricky’s rough tough foreman ironically lectures his independent contractor, noting that the people who receive these packages do not give a crap about the lives of the delivery personnel. “They would not care if you fell asleep in the truck and hit a bus.” The foreman is aware of the evils of the Western economic system, and does his best nonetheless to fit into it. Better to be a straw boss than a prole.
There’s a message in the movie that Loach may not have thought about. Note how the working class in the U.S. are conned by our president, a billionaire, supporting him with protest marches even now as he is preparing to be escorted out of the White House on January 20—by Navy Seals if necessary. Trump exploits the idea that everyone needs someone to look down on. He believes—and he’s probably right—that there’s no better feeling for the poorly educated people who work for minimum wage than to have people to look down upon: immigrants, Black and Brown people, foreigners, even the well-off liberals who, they seem to believe, regularly look down on them as racists from flyover country.
This is a hard-hitting drama that rivets attention throughout its running time and is in full competition of the parade of annual awards.
101 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – A-
Acting – A-
Technical – B+
Overall – A-