All or Nothing

When it comes to motion pictures, I’ve always been a lot more interested in the motion than the pictures. Images, in fact, have always been for me primarily a medium through which motion (or energy) can manifest. In ALL OR NOTHING abstract images are made dynamic by an infusion of energy imposed by me from outside. I’m tempted to describe this as a conversion of biological energy (mine) into cinematic energy. The individual frames collide and new things appear. It’s almost like a jerry-rigged, homemade version of the Large Hadron Collider. On the web page for the Large Hadron Collider it describes the Hadron Collider’s mission as “tunneling to the beginning of time.” A no-nonsense mission, I’d say. The mission of All or Nothing might also be described as a kind of tunneling, but for the life of me, I can’t say exactly where its tunneling to.

Directed by Fred Worden, All or Nothing leans on a strong ensemble — Danny MacAskill — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about screen titles of 2013.