Wonderful character development!

Slow pace in the most part of the movie.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

This is a dark and sometimes deeply uncomfortable drama

Add an original story concept about something seldom talked about publicly, include lively, interesting actors, then conclude the story by by using every cliché available.Sadly, this could have been far better than it turns out. It's definitely not the fault of anybody but the writer or whoever had final say on how the film ended.The actors, camera people, post-production, sound crew, basically everyone but the writer, do everything possible to keep the film enjoyable despite the script. Hopefully, it was more of a studio/producer issue forcing a plain, boring, predictable, tedious, uncreative, pre-packaged ending on it because the plot and first hour really did show promise.

Dogging is as British as Earl Grey tea and frozen football pitches on windy January afternoon, and it is definitely an interesting subject in which to base a film upon. In case you are wondering, Wikipedia defines the sexual act of 'dogging' as;"engaging in sexual act/s in a semi-public place (typically a secluded car park in a car) and then watching others doing so." This sexual act (or acts) is the pretext for the loose romantic plot behind Simon Ellis's first feature-film in which four people's lives and relationships revolve around the act of dogging.Dan (Luke Treadaway) is an aspiring, unemployed journalist who is hoping to set the media world alight by writing an article on the act of dogging and what people attain from the activity. Being unemployed, he sleeps on his best friend's Rob's (Richard Riddell) couch. Rob is a man's man, his job as an estate agent is only worthwhile to him as it allows him to meet and exploit plenty of mature, divorced women looking for a new abode. The film's core storyline revolves around Dan's deteriorating relationship with his girlfriend of four years Tanya (Sammy Dobson) and the unlikely relationship he strikes up with Laura (Kate Heppell), a young, curious and naive new member of the local dogging community. Continually the characters motives change within the film and we are given no indication or explanation why this happens, constantly keeping the audience at arm's-length rather than drawing them further into the characters lives.Ellis's film, to be fair, does have its fair few moments of cheap humour, which almost entirely occur while the characters are involved on an excursion to a local car-park. Dan's first adventure out within the world of the 'doggers' will certainly bring forth a few chuckles. But its main setback is that the central theme of relationships is incredibly shallow and only barely scraps the surface of what would have made for an interesting story. The combination of using both first (Dan) and third person perspectives (unknown owner of a night-vision camera who's identity is later revealed) in the film also seems to be somewhat redundant and adds nothing but a few extra minutes to the running-time of the film.'Dogging: A Love Story' had an interesting, and experimental premise that potentially could have made for very fun and engaging film, however it falls flat with a thin story and one-dimensional characters.

I thought this was a great film.At first I thought the dogging would be the main focus, but as the film progressed a rather sweet and sometimes subtle love story emerged, which overtook the admittedly stark world of dogging. Some very good performances, the Chav being my fave, though what he was doing in Newcastle I don't know.There's some great subtle comedy - the dogger who takes notes like a train spotter, and the doggers who oooo! and aaaa! at another doggers setup in his car, as if they were looking at a pigeon loft. Very northern UK-centric, but very funny.

Astonishing that this was the only British film reckoned worthy of a slot in the Tiger Competition at Rotterdam 2009. Programming the film at all was a baffling move, but to position it in such a prestigious slot is an embarrassment for all concerned.It's a rubbishy, mirthless Brit-com that's opportunistic and exploitative, but without any of the positives of old-school "exploitation cinema." Slim but convoluted plot hangs on the illicit sexual activity 'dogging' - semi-public in-car coitus - a practice that made some salacious UK tabloid headlines a couple of years back. Here it becomes the saucy/seedy pretext for a sloppily-scripted, tut-tutting exercise in larkish prurience, involving various feckless young adults (one of them a priapic Geordie satyr played by newcomer Richard Riddell, who deserves much better material) in and around the Newcastle region. NB : Given the location and subject-matter, surely 'Go Forth, Tyne Dogger' would have been a better title.