All or Nothing

"All or Nothing" certainly isn't a movie for the masses and I'm sure that many people will never see it or even think about seeing it and that is a shame. It's true that it is a rather depressing movie, at first sight, when you don't look closer and don't get involved in the story. When you take the time to dig deeper, you'll not only see the misery, but also a beautiful thing called love.

In this movie we mostly follow Phil, a gentle guy who works as a taxi-driver and who lives together with his wife and two children in some social housing complex in London. His daughter works in a retirement home, his son hasn't got a job and his wife works on the checkout at a supermarket. They have the biggest problems to make both ends meet every month, but that's not Phil's biggest concern. He doesn't care much for life anymore, because his wife no longer loves him. But than something terrible happens to the family, bringing them all together again, as close or perhaps even closer as they have ever been...

This movie is very realistic, hard and dark, but in the same time it is also very heart-warming. This certainly isn't a sugar sweet love story like we get too often from the big Hollywood studio's. This is what real life is like for many people. It has a social engagement (showing that even in biggest misery, people still care for each other and help each other), that probably will never be found in a Hollywood production.

I guess it will be understand and loved more by people who like realistic movies in general and socially engaged movies in particular. I might even say that it will be loved more by the people who are used to watch other European movies (Scandinavian, Spanish, French,... movies often have a deeper meaning included). Personally I liked what I saw and that's why I give this movie a 7.5/10.

The previous reviewers describe the story's chemistry adequately. But why all or nothing?

Contrary to the other comments I did not find the protrayal dreary or depressing. To do so seems to me to show a lack of awareness of the people who live and work near us or for us; who breathe the same air we do.

These people don't live in a slum or a housing development. They live in their homes. They do not portray, as in too many other movies, special effects empty violence or emotionless skin sex scenes. They beg us to consider and respect the lives they really live and their search for the fuel to continue tomorrow. They don't need everything; they don't need it all. They simple need enough to enable their emotional existence, that's all; otherwise they have nothing.

"All or Nothing" finally arrived in Honolulu where there are people with dialects different from London and yet have the very same vacancies in their lives.

I vote to clone Director Mike Leigh!!

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.

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.

I really like this guy; he did Secrets and Lies, and Happy-Go-Lucky, and I'm about to check out "Life is Sweet." I'm on some nostalgic, vintage Britain trip. I first saw All or Nothing about 10 years ago, on cable, and came in halfway and, being an American, the times it was put on cable were about once every several years. And at the time I was in high school and didn't have my own personal computer or money to order a DVD so I just vaguely sulked missing this film. Now that I have my own means to hunt the film out I'm so glad I have! And with my trusty dusty internet I am able to see all these VHS gems I've stored over the years, like the first movies I mentioned, have the same director. So I feel I'm doing something right as far as taste, or Mike Leigh is.

The film is about a connection of lives on a council estate/public housing complex. There's a couple with two kids that are less than models and not exactly skilled office workers, and neither are the parents. It's an overweight family of care home workers, supermarket workers, cabbies, and a bone-idle brat. You get the mother who has late-night timeouts to herself to grieve her existence, and the dad who digs for loose change under the cushions his couch potato son lounges on, a scene that silently, ironically shows how the cycle of poverty will continue within this family.

Then there's the mother's friend, who is a drunk and her daughter is the council slag basically, who tries to steal the boyfriend of her mother's other friend's daughter. The daughter is Donna, a right stroppy girl who values her looks and nothing else of herself, which gives her a bad attitude that ruins her looks; the entire film she has a rough sneer on her face, or tear-stained makeup.

The film shows the stereotypes without inducing eyerolls. Just like in Secrets and Lies (an AMAZING FILM that gives you laughs and tears), the soundtrack isn't cliché rap music to add to the mood of the urban setting, but it's somber violin music and no offputting lyrics. I don't know if the violin music is done to be ironic or if it's a way to ease and appease the upper-class or older viewers who probably need a break from all the aggression. But it's a contrast and kind of makes me giggle because it's music you'd hear in a Jane Eyre miniseries, and not in a film about rough "chavs" (I hate that word, but it's an inevitable and long standing part of English society, so.)

Speaking of, then there's stuff like Daniel Mays who plays Donna's boyfriend, and his strong accent, and his entire script along with the other characters' is a rather intriguing glossary of chav slang like "doing my head in" and "bollocks" and "having a laugh"...it's endless yet not nauseating or annoying or forced. I'm not quite sure how much was ad-libbed/"mumblecore," or Mike Leigh's hand but I raised an impressed eyebrow at how Mike Leigh was able to do that, use that underclass attitude to add to the realism while making it funny without mocking them or ruining the film. So the social context of British historical and current events that create the too real contemporary "chav" culture is strong here, and Mike Leigh nicely portrays this bleak society somehow in many of his films.

My only bone to pick is the actress who plays Donna. At first it seems like she is overdoing it but I know young women really do act this way and with their mums. Plus, she is pregnant, which makes women moody sometimes, and she has every reason to be angry if you look at the very utilised backdrop of impoverished tower blocks and screaming neighbours and a horrible boyfriend. It seems the actress has to really put on this hard act and bad attitude and her incessant "Shuh-ups!" to emphasise that her character is a chav and not a "regular" London girl. It's this attitude and accent and lingo that sets "chavs" apart from others, though they are a huge part of the demographic makeup in England and other parts of Britain. So I got over it. It is a bit crazy though that when she's battered and falls pregnant does this bring her and her single mother together.

I think this lifestyle of unintelligent people was shown very intelligently. On the cable that I have it was ranked with 2 1/2 out of 4 stars. I know critics can be fickle but I was wondering why it didn't at least get 3. So perhaps the harsh setting and reality of white Brits (who are classically and mostly shown in film and art and music to be posh, upper-classed, intellectual) being shown here as the complete opposite was a hard pill to swallow and probably written off as hammed up rubbish, but no. I think it's got a skeleton of reality here under the embellishing skin of dramatic fights, and relationships, like Sally Hawkins flirting with a mentally challenged kid and how she chomps on gum the entire time and keeps flaring her nostrils. I'm not British so I don't know how many "rude girls" strut around provocatively on the estate all day, but regardless I don't think she played the role well to be honest. Someone *like* Lauren Socha perhaps, who can play chav rather naturally and endearingly.

Anyway there's nothing here that I find unrealistic as far as the households and characters within and around, nor the situations they're in, nor how most of the actors/actresses played them, albeit some over the top, and I really appreciate this tour through the other half of British real life. Fine writer/director.