Take Out

Directors Sean Baker and Shih-Ching Tsou outdo themselves with their tale which is about much more than the sum of its parts. Excellent performances from professionals and non-professionals highlight this story of one young immigrant's struggle to survive in a country that doesn't care what state he is in, they just want their deliveries on time. Please seek this out and see what can be done with no money and a lot of talent. This story could be done 'Hollywood' style, with its crucial deadlines and world pressing in on Ming Ding(the lead), but it doesn't need to rely on overmanipulative scores, frenetic editing or artificial suspense..the way it's laid out will keep you on edge as it is.

Takeout is a raw and unpolished look at life in the margins. Shot in a documentary-like style, the film immerses you in the world of a Chinese immigrant working as a delivery driver in New York City. The film's gritty realism makes you feel like you're right there with him, struggling to make ends meet.

The narrative is pretty sparse, with very little exposition or traditional storytelling. This could feel slow to some, but I found it to be refreshing in how it captures the monotony and pressure of daily life. It's bleak, but not in a depressing way-instead, it's just honest, showing how difficult life can be when you're living paycheck to paycheck, and the struggles seem endless.

The acting is understated but effective, fitting perfectly with the film's documentary approach. While Takeout might not be for everyone due to its quiet pace and minimal plot, if you appreciate character-driven stories and a more grounded, real-world style, this is definitely worth a watch.

Sean Baker has made some really stunning micro budget films in recent years. Both his much lauded "Tangerine" and less known but equally excellent "Starlet" were wonderful comedy- dramas, artfully telling takes of those normally overlooked by mainstream cinema.

"Take Out" is not quite as strong as those later works, but is still well worth seeing.

This verite style study of a Chinese food deliveryman's desperate rush to earn $800 to pay off the loan sharks that helped pay his way to the US has a nifty sense of almost documentary realism. The acting is very real and understated (by a mixed cast of actors and non-pros), and the tension level is high.

I didn't have quite as strong a positive reaction as most of the critics for a few reasons. First, while avoiding movie clichés for the most part, a couple of key 'twists' are broadcast a mile off, dampening their impact. Also, by making his lead character such a cipher (he not only doesn't speak English, but seems inward and withdrawn even among his fellow Chinese), that it's hard to build up a connection with him as a character. Yes, we can pity his plight, but I wanted to understand what was going on in his head. Also, the shaky-cam shooting style occasionally called more attention to itself then I think it was intended to.

It reminded me a bit in tone of Ramin Bahrani's terrific "Man Push Cart", but for me that early work had a little more poetry and richness.

None-the-less, an intelligent, well-meaning micro budget film (it looks like it was shot on regular definition video), and - given my fondness for Baker's more recent films - I'll certainly go back for another look.

Apart from being one of the best films about NYC struggling and still fresh in 2025, more than 20 years later, what struck me was how old fashion technology and the sense of reality this film brings make it so hard to reproduce nowadays.

It was shot on mini DV. Those camera had small sensors. One of its many downsides is the flat no blurry background image. Blurry background is "cinematic". But in Take Out, things have to be in focus, they look much better non cinematic. All the textures, objects, messy kitchen, the labour. We see everything, it's all in focus. It's a very important piece of the narrative. The camera limitations, as times passes, proved to be the best approach possible for a film like this.

This unique look is kind of lost in time. Much more than shooting film, because people are actually shooting film a lot these days. Those mini DV camera movements are almost impossible to be achieved with modern cameras - iPhones included - on a one man band system. How ironic is the fact that this digital cheap look is more unique than celluloid.

From the extras, it seems that the makers were absolutely fascinated by the idea of recreating routine food deliveries in New York.

Plus some details of cooking.

They even cut our an opening showing more about the gangsters, available as a Deleted Scene for the disk.

I really could not share their enthusiasm. A lot too much of it. And we could have been shown all sorts of other things that were just as worthy.

That said, I liked it, despite liberal use of the fast-forward switch. The characters were very believable. One sympathized. And it mocked some common ideas - several explained how they faked a political motive when they just wanted to make more money than the could back home.