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Such a frustrating disappointment

Plenty to Like, Plenty to Dislike

While it doesn't offer any answers, it both thrills and makes you think.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

On paper, CATCH ME DADDY sounds by all accounts to be a tense and exciting cross between the art-house and thriller genres, delivering something ruthless and gritty we haven't seen before. A bit like '71, the Northern Irish film. Sadly, on screen it turns out to be a complete waste of time, a movie that dashed my expectations about ten minutes in.A lot of these modern British 'kitchen sink' movies have similar problems in a lack of decent sympathetic characters. Certainly the two leads here - the Pakistani girl and her boyfriend who spend their lives hiding out on a caravan on a Yorkshire moor - are almost entirely without merit. They're uncouth, rude, self-centred, and spend the entire running time of the movie having stuff done to them rather than being proactive. I disliked them both instantly, and those feelings didn't change throughout the movie.The plodding, padded scripting doesn't help. The storyline is very simplistic, with lots of travelling around punctuated by bursts of sudden violence. Things are so slow that a ten minute interval is used to show the characters dancing to some rubbishy music, which I could have done without. Yes, the cinematography is dark and brooding and occasionally atmospheric, but for what? The ending is as predictable as they come and the overacting from the lead actress is off-putting. I hated this one from beginning to end.

'Catch Me Daddy' is a disturbingly charged and viscerally moving film with superb cinematography and timing which juxtaposes a stunning modern day Yorkshire Dales landscape with a alienated feel of tombstone... You almost expect tumbleweed to roll by at some point...The powerful symbolism and imagery draws you into hidden world full of hidden meanings yet it still manages to challenge viewers to think about the injustices portrayed, which are real in a modern world and the uncomfortable subjects of revenge, killing for honour and respect and lawlessness.The use of unknown actors in the lead roles is a genius move and really brings home the realism of the subject matter without sensationalising the issue of young girls and women being murdered for honour and respect.Directed by the Wolfe brothers and produced by EMU Films, two British collaborations (and not too British) are making a name for themselves and are the ones to watch in the near future.

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.

The story, torn straight from the newspapers, is simple - a young Pakistani woman is on the run from her family. Sabeena Jabeen Ahmed, who plays Laila, the object of pursuit, is terrific in this role, delivering a thoroughly believable and moving portrayal, and her co-star, Connor McCarron is equally spot-on as a young man in love and in over his head.The achievements of the cast are matched by the excellence in direction; this is a film that keeps the viewer both involved and anxious. Between moments of sheer suspense and genuine menace there are snippets of beauty and, on occasion, the kind of incidental humour that is found in everyday life. All in all, this is an exceptional first feature film from the happily talented Wolfe Brothers