ReaderKenka
Let's be realistic.
StyleSk8r
At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.
Roman Sampson
One of the most extraordinary films you will see this year. Take that as you want.
MJ
I'm surprised to see so few reviews of this marvel. I also don't think this is a sad movie, unless you had a perfect childhood. Instead, it is reassuring and inspirational to find out that some have suffered more than us, and can put our imperfect pasts into perspective. The world is shown as seen solely through the eyes of the 11-year-old Lucy, who is almost merely an observer of her own life, with little dialogue and action in most parts; the script, the acting and the direction are as uncomplicated as they are powerful. Special mention should go to the lead actress: it is impossible to take your emotional eyes off Lucy at any time, and not to feel both the pains she suffers and the little joys she encounters; the longing for affection she endures and the masses of affection she radiates at the same time. The calm, humanity, love and care of Lucy's character are not diminished but instead reinforced by everything she goes through, and to that end she emerges triumphant from the film... and from life itself. The necessary consequence of all this is that the screen writer-director deserves the highest level of admiration, for both her life and for the direction of this piece, and also a massive thanks for sharing a lot of herself in this powerful drama.
Burton_Herschel_1
With this film, Samantha Morton has done better than most actors-turned-directors, as she displays an understanding not just of the ways in which films make meaning and are experienced by their audience, but also of human behaviour and the way life itself unfolds. While similar subject matter has certainly been covered before in British films, from Ken Loach to Lynne Ramsay (from whom Morton seems to have learned cinematic pacing and how to "show and not tell"), this film is still able to give a fresh experience, just like how many people share very similar lives on the surface, yet each one is unique.Without giving anything away plot-wise, the scenes which stand out for excellent direction, acting and pacing are the opening one between the main character and her father, another later on between these same characters in a pub, an outdoor rave, and a fight that breaks out between a group of adults who are supposed to be the responsible ones (though the beauty of the way this scene is handled lies in the fact that we can't be sure some of them *aren't* being responsible by doing what they're doing!).The last shot could have been one of the stronger endings I've seen in recent cinema, but the music that plays over it detracts from the power it could have had - instead of allowing viewers to have their own individual reactions to this image (and there's enough power and emotion inherent in the situation that it would be nearly impossible not to experience something during this shot), the music tells us what the emotions are, through both instrumentation and lyrics. This serves to detach the audience somewhat from what we're seeing, instead of sucking us in like most of the film has already succeeded so well in doing.I can only hope Morton directs another film in the (near) future.
Mark Price
Watched this last night knowing it would stir up all the emotions you can imagine when dealing with the abuse of children and to be honest I was hoping it would be rubbish so I would have the excuse of stopping watching. Well it was powerful stuff, understated drama without being overly dramatic. You wanted to reach out and hug the girl, buy her clean clothes, give her so called carers an earful not for not caring but for not paying attention. If the system is in any part like this, and I'm sure it is, then those in the business should get a wake up call from watching this in learning what not to do. Samantha Morton can be proud of this work as a directorial debut and I am sure it was cathartic based on her childhood as she was in care until 16. Molly Windsor is excellent in the role as the child. Robert Carlyle's is quality as usual
political-terror
Congratulations to first time director Samantha Morton and Channel 4 for showcasing this magically poignant portrait of a maltreated child suffering the indignities of Britain's under-resourced care system.Star: Molly Windsor delivers a masterful evocation. The Unloved avoids the inherent pitfalls of such difficult subject matter.Morton herself went through care, but this is no angry rant against her experiences, but an enlightening reconstruction of events exorcised through a perceptive and beguiling work of artistry.Strong support from co-stars Robert Carlyle and Susan Lynch as Molly's estranged and troubled parents seeking personal redemption for the hurt caused and subsequent loss of their angelic daughter.I can only hope this is not the only helmed piece Samantha Morton brings to this world, as she is indeed a talented voice in a world of increasingly entertainment driven indifference to the bigger issues which surround and impact upon us all. This cinematic picture should have been given a much deserved big-screen distribution.Assured best new British drama since Red Ridding.
