Tutto o niente

"All or nothing" was typical Mike Leigh. The acting was superb and the characters were realistic. His movies are more like a documentary than a screenplay. I become involved with the characters and I continue to think about them and their lives for a long time afterwards. The characters in this movie led bleak, sad lives. The small amount of happiness at the end of the movie isn't enough to overcome the bleakness of the story. I can't see how these people in the surroundings they live in and associating with the types of people portrayed in the movie could work their way out of their plight. Rory and Rachel are doomed to live in this bleak place. See, I get all involved with these characters. I think they are real. That is the power of Mike Leigh's films. This is a sad movie, an affecting movie. Ruth Sheen was the one bright spot, plus she has a lovely voice.

Phil (Timothy Spall) is an overweight taxi driver who gets up late in the day and works intermittently, barely communicating with his family except for a few grunts. His philosophy of life is expressed as "We're all born alone. We die alone. There's nothing we can do about it". Mike Leigh has given us powerful portrayals of the underclass in his previous films Naked, Secrets and Lies, and Life is Sweet but none more powerful and moving than his latest, All or Nothing.

In this film, Leigh looks at three families living in a dreary South London housing complex and captures their lives with an intimacy that is almost unbearable. All or Nothing has a documentary feel, almost as if the camera was just planted in the middle of the living room to observe. The conditions are familiar: unemployment and underemployment, alcoholism, teen pregnancy, isolation, and the inevitable loss of self-esteem and despair. It is, however, more than a drama of oppressive social conditions, but also of lack of communication between people who desperately need love but are too afraid or lethargic to ask for it.

Spall's performance is a revelation. His unshaven face, disheveled hair, and hangdog expression communicate deep resignation. The film is bleak but Leigh mixes its heartbreak with joy. When a neighbor Maureen (Ruth Sheen) sings ''Don't It Make My Brown Eyes Blue,'' at a karaoke bar, her eyes shine with a glow that seems at odds with the rest of her life but is so contagious that even her most dispirited friends take notice.

It is obvious, from the start that something is amiss. Phil says nothing when his obese son Rory (James Cordon) hurls words of abuse at his common-law wife Penny. Rory is an overweight bully who does nothing but lay around the house, watching TV and hurl insults at everyone in his path. Sister Rachel (Alison Garland) has a job cleaning up at a nursing home but also seems to be going through the motions of living except when she is interacting with patients. Penny works in a supermarket and does just about everything to keep the family going, but it never seems to be enough. The film's sub-plots add to the feeling of life reeling out of control, but none of these are fully developed and are just dropped without tying up the loose ends. Maureen's teenage daughter is pregnant by some lout that doesn't give two hoots about her. Another resident, unemployed Samantha (Sally Hawkins) hates her parents and finds herself seducing a very strange young man (Ben Crompton) lurking in the shadows of the complex grounds.

The second half of the film concentrates mainly on Phil and his family. When a medical emergency occurs, the family begins to open up and express long buried feelings of hurt and resentment. The final confrontation between Phil and Penny achieves an explosive power. Phil tells Penny that when he's had enough, he just switches off the meter on his taxi. Penny responds that she doesn't have the luxury of turning off a switch and making everything go away, that she is still responsible for the daily chores and the condition of the family. After Phil finally reveals his deepest fears, a transformation occurs that is unmistakably reflected in the family's facial expressions and body language.

Leigh does not offer simple solutions, but seems to be telling us that although life is painful, we can reach beyond the pain to get in touch with the beauty. He shows us that love is the glue that holds families together and that either there is love or there's nothing. As a result, All or Nothing pulsates with a humanity that, in spite of its bleakness, is life affirming and ultimately uplifting, reminding us that beyond bitterness, there is love, and beyond suffering, there is grace.

Mike Leigh, in my opinion, is the greatest director ever! He needs no animations, CGI, big named stars or million dollar budgets to produce films of pure, simple genius. All or Nothing is no exception and is proving that as he ages his films have gotten better and better.

All or Nothing reminds me of life on a council estate as I remember it when I was a kid. There used to be flats on our estate that, although not the same in appearance, where practically the same in their inhabitants: the drunk family, the quiet family (Phil's and Penny's family), the druggie families, the slightly odd kid, the angry violent boyfriend, the single mum with foul-mouth daughter. They were all there. Anyone who knows life on an estate like this would wonder how Mike Leigh can put together such an accurate snapshot into the lives of these families.

Mike's films are totally captivating. To some, it might appear like nothing really happens in them, but what I see in them is a reality that is like nothing else on film. Sometimes they're funny, sometimes so almost unwatchably painful but never, ever dull or predictable.

Once you're a Mike Leigh fan you're taken to a different level. I just can't take American movies seriously anymore.

I have just returned from a special advance showing of "All Or Nothing" at my local UGC and I must say, this film exceeded my expectations enormously.

The film is about the lives of one family in a council estate and how each member interacts with the community. The Father, Phil Bassett (Timothy Spall) works as a Taxi driver while his wife Penny (Lesley Manville) is a checkout operator at a local supermarket. They are unmarried but have two children Rachel and Rory, the former being an angst-ridden, overweight layabout who is key to the film.

Acting is superb. It is that simple. All but one performance is utterly convincing, especially Timothy Spall with his constant bemused grimace which sets the mood of both his character and the film. The one exception is Donna played by Helen Coker. Her role is played up too much and seems rather forced. Now if by any chance you're reading Helen, please don't be disheartened; I merely saw you as the "least best" of an excellent bunch and I have to criticise something!

The script is authentic, witty and full of emotion while not being repetitive (barring the word "alright"!).

"All Or Nothing" is one of the greatest portrayals of what it is REALLY like to be part of a down-on-your-luck working class family. I even believe the film ended too soon; there were a few ideas that could have been developed further. I mention this not as a criticism but as a tribute to Mike Leigh who actually made we wish this 2hr 28 minute film would go on!

Fantastic! Eight out of ten!!!

This film is worth a hundred others because it is not an exercise in making a product and marketing it successfully- instead it is a statement by a man who is a true director, someone who feels passionately about the world we live in, and uses this fantastic medium to its highest potential.

The film is ultimately about a man (Phil, Timothy Spall) who has philosophized about life to the point where nothing matters to him anymore. The only thing that brings him back around the world of the living is (the only thing any of us really need for happiness)... Love.

For me, that is one of the most pertinent and beautiful things that someone with a voice in society can say.

P.S. It is highly likely that if anyone found this film 'too depressing' than they are not really primed to expect anything other than the beauty and predictability of

hollywood film. And in response to the chap who refutes the existence of such misery in the real world: you are obviously a lucky, privileged chap.