The film is another one of Ken Loach’s tales of working-class life; like Riff-Raff, it is told in a regional British accent that’s so thick it has been subtitled. His screenplay is ingenious in bringing together the romance, the crime elements, and the challenge of being sober in a community where drink and drugs provide the primary pastime (and employment). The romance is all the more absorbing because it’s between two street-wise people in early middle-age, who have no illusions (…) Often with a film like this you think you know how it has to end. The ending of My Name Is Joe left me stunned. I’ve rarely seen a film where the conclusion is so unexpected, and yet, in its own way, so logical, and so inevitable. — Roger Ebert

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