All or Nothing Page #3

Synopsis: Penny's love for her partner, taxi-driver Phil, has run dry. He is a gentle, philosophical guy, and she works on the checkout at a supermarket. Their daughter Rachel cleans in a home for elderly people, and their son Rory is unemployed and aggressive. The joy has gone out of Phil's and Penny's life, but when an unexpected tragedy occurs, they are brought together to rediscover their love. All or Nothing is set on a London working-class housing estate over a long weekend, and also tells the stories of a range of Phil and Penny's neighbors, some of whom become involved in the family's lives, and all of whom experience an emotional journey.
Genre: Drama
Director(s): Mike Leigh
Production: MGM Distribution Company
  3 wins & 13 nominations.
 
IMDB:
7.6
Metacritic:
72
Rotten Tomatoes:
82%
R
Year:
2002
128 min
Website
394 Views


Why not?|- F*** off!

Have a nice time without me.

You off? Be good.

If you can't be good,|be careful.

F*** off.

What, I'm not allowed|to talk to her?

There's no need|to argue about it!

Shut up!

All right, Craig?

What you keep|f***ing looking at me for?

Don't f***ing look at me|or I'll slice you, you c*nt!

F***ing mug!

F***ing wanker.|Get your f***ing hands off me!

What are you doing, Dad?

Get off!|- Come on, shift over.

What are you looking for?

Money.

There ain't none down there.

Come on, get up.|- I'm telling you...

there ain't noth--Oh, sh*t!|- Give it to me.

No, that's mine.|Finder's keepers.

Don't mess about.|- No, f*** off!

I'll give you double tomorrow.|- No.

I ain't joking.

You can borrow it,|but you owe me a quid.

All right.|Come on, let go of it.

Ta.

Can I come in?|- Yeah.

All right?

Is that any good?

Yeah, it's all right.

Got any spare change?

I might have a bit.

Only it's my what's-its-name.|Gotta pay it tomorrow.

Yeah, of course.|- Don't want to leave you short.

No, it's all right.|- I'll get it.

Where's your purse?|- Downstairs.

In your coat?|- Yeah.

It's not much.|- It all helps.

You sure?|- Yeah.

What about your dinner money?

No, it's all right.|I still got a fiver.

I'll give it back to you.

Thanks, luv.

Good night.|- Night.

I should have|just got half a tank.

It's Friday tomorrow.

Yeah, I know.

I ain't had a very good week|this week.

Ain't you?

No.

Got any spare?

Yeah, I got a bit,|but it ain't ever spare, is it?

Can I borrow some?

I'll pay you back|at the weekend.

Why don't you get up|earlier in the mornings?

Drive people to work,|take them to the airport.

I know what you mean.

It's downstairs in me bag|in me bike basket.

Shall I take it out?|- No, bring it up.

All right.

I only need a tenner.

Ta.

Have you got any change?

Yeah, I got a bit.|Ain't much, though.

That should do it.

Do you want me to take that|downstairs for you?

No.

Give us a clue, then.

'Biblical son of Isaac,|five letters.'

Starting with a 'J.'

Jonah.|- Oh, yeah.

No, it ain't.

It's what's-his-name. Jacob.

Are you sure?|- Yeah.

It's a thousand pound prize.

Is it?

No, I ain't sure, then.

Give us another one.

No, I'm gonna go to sleep now.

Right.

I'll be up in a minute.

Night.|- Night.

Are you all right?|- Yeah.

You going downstairs for a bit?

Yeah.|- All right.

Morning, Harold.|- Morning.

You all right?

Sweatin' like a pig, ain't I?

Havin' a breather, Sid?

Ain't you hot, then?|- No.

You're lucky.

Are you working at the weekend?|- Yeah.

Just you and me then, innit?

You make sure you go to bed|early tonight, then, eh?

Mind your elbow, honey.

Looks good.

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Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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Submitted on August 05, 2018

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