All Or Nothing is set on a London housing estate over a long weekend, and also tells the stories of a range of Phil and Penny’s neighbours, some of whom become involved in Rory’s crisis, and all of whom experience an emotional journey.
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For me the ratio of Spall:Manville/Hawkins/Sheen was tilted too much toward the former. Worth having a look to see Sally H ace her first role. And to note a brief scene with a far-gone taxi passenger who, flask in hand, dribbles a monologue punctuated with "You know?" The same nonsense speech (also with "you know?") is delivered to Poppy by a homeless man in HGL. Vg summary of ML's close-range humanism. You know?
Broached in LIFE IS SWEET, Leigh's mastery here of exquisitely direct-seeming recording of emotion makes him the Bergman of the working classes. How to know precisely where to position and frame the perfectly cast and directed actors in their spaces, or to calibrate the distance between the bodies/faces and the camera and its movements, for the greatest, most perfect sensitivity? It's a mystery, but Mike Leigh knows.
The story centres on a working class family and some of its neighbours, with the honest and humane approach of Leigh's best work, although at moments seems a little bit too condescending and miserable.
master piece. the whole film is thoroughly crafted in a way that each subtle sentence and movement of each characther conveys its identity's density. the main family - their many problems (and, ultimately, the whole neighbourhood's problems)- is an emotional puzzle which is solved after a catharchic last half-hour caused by a simple breach in the puzzle. very good argument supported by sublime acting