Metacritic reviews

The film’s most extraordinary trick is how Pat’s presence hovers over the film. It is a feat of filmmaking and performance that a character only onscreen for a few scenes can feel truly missed by the audience. The home Pat and Angie built together aches with her absence, and so does the film.

Beautifully written and performed (Patra Au Ga Man as Angie being the standout of an excellent ensemble), All Shall Be Well illustrates Yeung’s keen eye for the nuances of social dynamics, especially regarding matters of wealth and class that many may prefer to skirt around when it comes to family.

All Shall Be Well is a picture of cruel realities. It’s a deliberate, nimble drama, one about major slights, class imbalance, and rampant homophobia.

All Will Be Well is undoubtedly an old-fashioned drama, but it is no less effective for that classic structure.

All Shall Be Well is a simple story overflowing with carefully crafted details that raises interesting and little-explored questions about gay rights, how we honor the dead, and how easily selfishness can seep in and poison us out of doing what we know is right.

It’s a quietly shattering place All Shall Be Well goes to, in which a time of consoling devolves into petty matters of consolation.

Naturally, laws protecting LGBTQ+ rights are quite different in the United States, especially in California and the Bay Area. Nonetheless, “All Shall Be Well,” in addition to being a skillful, absorbing story, serves as a gentle reminder. After dabbing your tears as the credits roll, your next move should be to send an email to the family lawyer.

The lack of inflection in the film’s infinitely broad-spectrum compassion can sometimes feel less like restraint and more like timidity. Anger is alien to Yeung’s style but it is sometimes justified, and without it, All Shall Be Well is a plea for understanding that should by now, by rights, be a demand.