All or Nothing

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
25 Views

Gotta be careful, floor's wet.

Do you want a hand?

Did you break down?

What?|- Did you have an accident?

No. Some f*cking monkey cunt|nicked my bike, man.

F*cking cunt! F*cking cunt!

Here, Pen...

fancy going out?

When?

Saturday?

Yeah, right, then.

Don't be so enthusiastic.

One-three.|- Yeah?

I'm clearing Cranston Road|in a minute or two.

Can you just wait?

Here.

Are you there, one-three?

Can you pick up at|12 Bellott Street, SE10...

going to Charlton?

Say again?

Going to Charlton. Got it.

Mr. Eyles?|- Yeah. Elephant and Castle.

Oh, Christ.

I don't f*cking believe it.

I gotta get the car fixed.|Some bitch in a Volvo...

smacked me up the arse.|I got no f*cking lights.

Ron, no swearing over the air.|What's going on?

I gotta get the car|off the road.

What's the damage?

She's buggered my tail lights.|I ain't legal.

Is the car mobile?|- Driveable, yeah.

Just come back to base.|- I can't do that, Neville.

Come back to base|and get it done tomorrow.

No, I gotta do it now.

Listen, don't mess me about.|I'm short of drivers.

Neville, f*ck off.

How much, then?

Overnight?

Hundred and fifty.|- Is that the best you can do?

You want it|in the morning, innit?

Hello, Phil.|- Hi, Ron.

Got smacked up the arse.

Yeah, I heard it on the radio.

Are you leaving it here?|- Yeah.

I'll run you home.|- Cheers, mate.

Ain't it nice?|- Yeah.

Feel like sunbathing.

Get me bikini on. Not.

I'll see ya later, alligator.

Ta, then.

Hello, Rory.|- All right?

All right, Craig?

Yeah, all right?|- Yeah.

Coming in for your tea, Rory?

About twenty minutes?|- All right.

F*ck off, Craig! F*cking wanker!

Just f*ck off!

Rory!

What are you playing at?|- He's always doing that!

Are you all right?

Did he hurt you?|- Nah.

It's only a ball!

What are you doing?

He's a tosser.|- He ain't a tosser.

You're not at school now.|- I know!

What time did you get up|this morning?

I don't know.|- Yes, you do.

No, I don't!|- Probably about 2:00, I expect.

You should leave him alone.|He's smaller than you.

So? He's older.|- Yeah, but you're bigger.

Why are you taking his side?|- I ain't taking his side.

Yes, you f*cking are.|- Don't swear.

Here, it's all right.|I've got me key.

Come on!|- Don't shout.

What's she doing?|- I dunno.

She's probably on the toilet|or something.

What's wrong with you?

What's wrong with you, you mean.

All right?

Yeah, I'm all right.

What have you been doing?|- Nothing. Just reading.

How's work?

All right.

Everyone OK?

Yeah.

What's for tea?

Chicken and vegetable pies.

Want a biscuit?|- No.

You all right?|- Yeah.

Ain't got no whiplash|or nothing?

She f*cked off.|- Did she?

Did you exchange|insurance details with her?

I pulled over, right?|She scarpers.

That's not very nice, is it?

F*cking women.

Wouldn't be a world|without them, mate.

Anyway, she might have|done you a favor.

How do you mean?

If it hadn't have happened,|you might have driven...

around the next corner|and killed a little kid.

It's what's-its-name,|fickle finger of fate.

If you knew what|was gonna happen to you...

when you woke up in the morning,|you'd never get out of bed.

That's life.

The old clock ticks,|world turns around...

tide comes in, tide goes out.|You're born, you die. That's it.

What's your missus make|at Safeway?

I don't know,|to tell you the truth.

You don't know what she earns?|- Enough, you know?

Keeps the wolf from the door...|with the bit I make.

All right.|- Hello.

I'll see you tomorrow.|- See you, Ron.

All right.

All right.|What have you got there?

Burger buns. Three dozen.

We ain't gonna eat all them.

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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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"All or Nothing" Scripts.com. STANDS4 LLC, 2019. Web. 18 Oct. 2019. <https://www.scripts.com/script/all_or_nothing_2512>.

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