Catch Me Daddy

Catch Me Daddy was a near-miss for me. A cat-and-mouse thriller about a white British bloke and his young Muslim girlfriend on the run from her possessive father in Yorkshire, it dips its toe into matters of feminism in Islam and the taboo of interracial relationships, but mainly concerns itself with one close shave after another for our increasingly desperate fugitive pair... along with shocking scenes of violence which are all the more affecting because they occur so sparingly.

Mostly taking place over the course of one brutal night, the story displays many rundown locations around the county and introduces us to a selection of particularly unsavoury characters; a Tourist Board advertisement for the region it is not. MiIdly diverting but definitely overlong, it's another one of those films that concludes with a giant question mark hanging over it. Some people would appreciate the ambiguity, other would prefer something a bit more concrete. I exist firmly in the latter camp. 5/10.

"Catch Me Daddy" is a type of film we, as viewers, don't see very often anymore. It's not a particularly "deep" film but it also doesn't give you any information you don't need nor does it give you silly exposition to know something within the movie. Personally, I find it easy to appreciate that kind of film-making.

Apart from some of the dialogue being hard to understand from certain characters thick accents, there are not much flaws within the film from a directing, writing, cinematography, or editing stand point. My rating is mostly based on me being a hard ass while critiquing.

With a tension building plot, very cool soundtrack, stellar performances from a couple of the cast members, and a few brutal, brutal scenes, I can recommend this film to almost anyone who doesn't mind watching a movie made in a different country from their own. Enjoy!

Music video guys (both white) try to direct a narrative movie, choose a subject that they clearly no nothing about or have any experience of. Film looks good, starts well, then slowly it becomes clear that the central relationship of the film is paper thin, under developed and badly realised, the runaway couple don't seem to be a couple at all, no sense of love or that they even actually know each other, and then it descends into a honour killing narrative, where nobody involved rings the police, and about 50 people are involved in this (some are white.......). Credibility zero. Writers picked the subject, treated it with no depth, then didn't know what to do with it at all, or how to actually write, or how to end what they choose as a story. The film reaches for importance when but is totally hamstrung by bad writing.

Fizzles to zero in the last half hour. Disappears up its own bum might be another description. No ending, a cop out.

Some decent scenes, which work, some good new actors and nice cinematic locations. Some of it seems well directed at the start especially. Good camera work too. BUT Without a proper story or real characters, by the end it's like a .... Well, a music video.

Director has an eye. Simple fix next time is to Hire a scriptwriter who can tell stories properly. Part of the blame should go to the BFI and lottery types who funded this and signed off on the shoddy script, badly realised characters and the ropey treatment of the serious subject.

Director never made another film, but may have learned good shots and visuals on their own, don't equal a proper story / characters. Missed opportunity. Potentially worth seeing, just don't expect it to work. The Raul Moat joke was good, and Barry and some of the lads seemed authentic, more so than the overall story/scenes.

I've just watched this and I can't stop crying. What happens is real, and nobody should ever suffer this. Every actor plays their part like it's a documentary, and I'm horrified. I knew this sort of thing happens, but the brutality has crippled me.

very powerful, and pretty impressive as a hybrid of British art- house and thriller conventions, even if these two strands of its makeup never sit entirely comfortably against each other. there's little that hasn't been seen in the films of other European socio-realist directors (i kept thinking of Ulrich seidl, Clio Bernard and Brno Dumont as well as tiny bit of ken loach, though this has little of loach's generosity or compassion) but the Wolfe's obviously know a thing or two about gut-piercing drama, they just stick too conveniently to the surface of the subject they are focusing on. it feels a little too easy to take such a sensitive subject and treat it merely as thriller fodder. yes it has some sensitive scenes, and the last scene is almost unbearable to watch (i left feeling scarred) but it is also just reveling in ethnic stereotypes in how there is not one redeemable Asian man on screen. so while you could say there are no redeeming men of any background on screen (or that it is not the job of every film to deal with this, but i would say for a film tackling this subject, and a group who are routinely represented poorly in the mainstream, it is an important detail, esp when there have been very few films dealing with these themes - catch me daddy seems close to becoming exploitation, albeit dressed up in art-house clothing), the older white bounty hunter at least appears to care somewhat, as does the white boyfriend. does it drive home the absolute horror of the situation as it should? yes. but it also relishes that horror a little too uneasily/problematically. it is essentially just reinforcing the audience's preconceived notions of Pakistani/south Asian communities, with Asian men as brutes, white men as saviours, Asian girls as victims, with little to challenge or colour around that - so while the film might appear superficially bold, its also somewhat thin on understanding its subject beyond very basic circumstances. but i imagine the Wolfe's would make good British genre movie makers, which the UK could probably do with more of. they're great filmmakers, I'm just not sure if they are particularly mature as storytellers.