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All or Nothing

All or Nothing

2002128 minRMidcredits score: 93rd percentile of all films
Director
Mike Leigh
Starring
Timothy Spall, Lesley Manville, Alison Garland, James Corden

Penny works at a supermarket and Phil is a gentle taxi-driver. Penny’s love for Phil has run dry and they lead joyless lives with their two children, Rachel, a cleaner, and Rory, who is unemployed and aggressive.

Where to watch

Where can I watch All or Nothing?

As of October 24, 2026, MovieCove lists All or Nothing streaming on Pluto TV (free), ScreenPix via Prime Video, The Roku Channel (free) and Tubi (free) and to rent or buy on Prime Video.

Your rating, lists and review

Highlights

What stands out about All or Nothing?

All or Nothing earns 7 badges, led by Top 10% of films and Standout acting.

  • Rank
  • Reception
  • Craft and mood
  • Awards and box office
  • Content
  • Cast

Reception

Is All or Nothing worth watching?

All or Nothing's Midcredits score is the 93rd percentile of all films, from 22K ratings across 6 sources. 82% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

93rd percentile

Better received than 93% of films

94th percentile among Drama92nd percentile among 2000s
Acclaim (how much people like it)90th
Approval (how many liked it)92nd

74 /100

90th percentile of all films

92nd percentile among Drama90th percentile among 2000s

Critics 72 · Audience 75

Critics and audiences broadly agree.

Rating distribution

A broad spread centered near 7.5 — solid but not unanimous.

82% liked it

92nd percentile of all films

93rd percentile among Drama92nd percentile among 2000s
82% rated it 7–1018% rated it 1–6

Critics 82% · Audience 81%

On Rotten Tomatoes, critics and audiences approve at similar rates.

Awards

0 Oscars won · 0 Oscar noms · 3 wins / 12 noms overall

88th percentile

22K ratings across platforms

90th percentile among Drama81st percentile among 2000s
TMDB popularity, last 37 days to Oct 26Up 13% in 30 days

Box office

Budget$9M
Opening weekend$26K
Domestic gross$202K
Worldwide gross$2.8M

Returned 0.3× its budget — 73rd percentile earner in its genre.

What reviewers say

Common ground

Both camps acknowledge the film is a harrowingly realistic, emotionally heavy portrait of working-class despair, but disagree on whether its unrelenting grimness constitutes power or flaw.

Fans praised

  • Superb naturalistic acting from the entire cast
  • Authentic, unsentimental portrayal of working-class life
  • Emotionally devastating yet cathartic final act

Detractors panned

  • Relentlessly bleak and exhausting tone
  • Funereal pacing and overlong runtime
  • Caricatured supporting characters undermine realism

What stands out

Acting85

Timothy Spall and Lesley Manville deliver career-best, deeply empathetic performances

Atmosphere80

Oppressive, immersive world of council estate despair

Emotional impactDivisive75

Devastating catharsis for fans; numbing despair for detractors

Sound and music65

Mournful violin/cello score divides viewers but sets mood

EndingDivisive65

Hopeful resolution feels earned to fans, forced to skeptics

Characters60

Superbly written as real, flawed humans but some seen as exaggerated stereotypes

Plot and story45

Thin, episodic narrative that prioritizes character study over story

Pacing30

Slow, languorous rhythm that many find deadening

Preferred by

No notable difference between any of the groups: each pair ranks it within 10 percentile points.

  • Women vs men 8 points apart
  • Critics vs users 9 points apart
  • US vs non-US 7 points apart

Watch experience

What is All or Nothing like to watch?

Conclusions only — categories and positions, no plot detail.

Moving and bittersweet: browse every movie of this kind

Watch this when you are ready for heavy feelings, and you want a story that moves you and leaves an ache.

It takes its time and leaves you bittersweet. Skip it when you want an easy night or you want things to move fast.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Room for heavy feelings and patience.

What it feels like

Moving and bittersweet.

The answer rests on this: Moods
MelancholicTense
Heaviest: late
Register
Bleak · 8% of filmsTender · 13% of films
Told as
Three-act: Setup, confrontation, resolution — the default Hollywood shape.
ToneMike Leigh presents the harsh realities of working-class life with unflinching naturalism, punctuated by moments of gentle humanity.
The rideThe film builds from a quiet, strained domesticity to an emotional climax around the tragedy in the final act.
StructureThe story unfolds in a conventional chronological order over a long weekend.

How it leaves you

what you carry away

Bittersweet.

The answer rests on this: BittersweetHopeful
Why it leaves you this wayThe film lingers with the weight of the characters' struggles but ends on a note of tentative reconnection, leaving a mix of sorrow and quiet hope.
How it ends · evidence
Bittersweet ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).Rebirth
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9%: Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3%
  • Rebirth 13% (this title): Redemption 3% · Healing 5% · Liberation 2% · Second chance 2% (this title)
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22%

Rebirth: A stalled or darkened life reopened and renewed. · Second chance: A stagnant life re-opened to love or purpose (Groundhog Day).

13% of films fit this archetype

A loose fit — the map only half-holds this one.

Why this archetypeThe film follows a family in a working class London estate whose stagnant marriage is revitalized by a sudden tragedy, ultimately reconnecting them and their community.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfMarriageBonds
Every theme, clockwise from the top
  • Bonds 27% (this title): Romantic love 15% · Marriage 2% (this title) · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% (this title) · Trauma 7% · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% (this title) · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Bonds

Marriage · 2% of filmsCommunity · 14% of films: Consequences reach a town, institution or group.Grief · 6% of films
Observes its theme: Presents its theme neutrally, declining to judge.Community stakes: Consequences reach a town, institution or group.Dual lead
How it treats its themeThe film centers on the dry, strained partnership between Penny and Phil, and how a tragedy forces them and their community to reconnect.
StanceThe film presents the failing marriage and the community's grief without judging them, simply observing the human cost.

The world

ContemporaryUrbanDomesticRealistic
Orchestral modernSupportive music · original score · Andrew Dickson
Settinga poor working-class London housing estate and the taxi Phil drives
MusicA spare, melancholic string score that underscores the film's emotional weight without overpowering it.

Content guide

Is All or Nothing okay for kids?

R

All or Nothing is rated R: “Rated R for pervasive language and some sexuality” (MPAA). As of March 15, 2026, Midcredits content scores put its violence at moderate (39/100), sexual content at moderate (52/100), language at severe (90/100), drug and alcohol content at intense (71/100) and frightening material at moderate (39/100). Its violence, drug and alcohol content and frightening material have too few votes to rank.

Ratings in 14 other countries
  • UK18
  • Canada14A
  • AustraliaMA 15+
  • Germany12
  • FranceTP
  • Brazil14
  • Austria12
  • Denmark11
  • FinlandK-12
  • NetherlandsAL
  • Norway12
  • Spain12
  • Sweden11
  • Switzerland12
Overall
Intense · all five categories
not ranked
Violence & Gore
Moderate
too few votes to rank (6 votes)
Sex & Nudity
Moderate
typical for an R-rated film
heavier than 59%
Profanity
Severe
heavy for an R-rated film
heavier than 91%
Alcohol & Drugs
Intense · audience split: No severity level holds a majority of voters
too few votes to rank (8 votes)
Frightening / Intense
Moderate
too few votes to rank (6 votes)

Point along a line to see a well-known title at that level.

Too few votes to rank this title overall (44 votes across 5 categories; ranking needs 10 in at least three).

Source: Midcredits content scores, 0 (none) to 100 (severe) per category, with each standing ranked against other films that have them.

What content warnings does All or Nothing have?

Not screened for content warnings yet.

Cast and crew

Who is in All or Nothing?

Cast

At least 3 of the 10 billed cast had never appeared on screen.

Timothy Spall
as Phil
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Lesley Manville
as Penny
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Alison Garland
as Rachel
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
James Corden
as Rory
newcomer then · star now
Ruth Sheen
as Maureen
Helen Coker
as Donna
Sally Hawkins
as Samantha
Screen debut: No prior film or television role.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
newcomer then · star now
Daniel Mays
as Jason
Screen debut: No prior film or television role.
Marion Bailey
as Carol
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Paul Jesson
as Ron
Screen debut: No prior film or television role.

Crew

More like this

What are movies like All or Nothing?

Movies like All or Nothing include Secrets & Lies (1996), Topsy-Turvy (1999) and Career Girls (1997). Of the 12 closest matches, most are films set in London, and several are second-chance stories.

Balanced: every group counts the same, and production only breaks ties.

Mike Leigh wrote and directed 7 of these 12. Those cards say what else they share.

Explore by

What else shares a premise, people or place with All or Nothing?

5.2K other films share the rarest tag below, relationship: marriage in crisis. Each tag opens Browse with the films that share it.