Sorry We Missed You

This is merely "very strong" rather than "transcendentally wonderful" like Ken Loach's "I Daniel Blake" was - I think it might be the storyline with the son in it that gave me pause here, as he's mostly an irredeemable little shit and you can't really blame capitalism for him the way you can for everybody else in the film. But there's a strong sense of build from about halfway here, with things getting more and more out of control for a family where both parents are tied to contracted work that demands more and more of them and gives less and less. Loach is a powerhouse director and Paul Laverty knows exactly the kind of stuff to write for him.