“All the Devils Are Here”

In his feature directorial debut “All the Devils Are Here,” Barnaby Roper crafts a brooding, stylish British crime thriller that thrives on mood and atmosphere.

Fresh off a heist gone wrong, four London criminals (Eddie Marsan, Burn Gorman, Sam Claflin, Tienne Simon) hole up in a remote safehouse, tasked with lying low until further orders arrive. What should be a temporary reprieve quickly curdles into paranoia, mistrust, and power struggles. The real threat isn’t the police or rival gangs, but the men themselves.

The film has a terrific knack for setting the mood. Roper leans into a claustrophobic intensity where silence and stillness carry as much menace as violence. Although voiceover narration is a device that often feels like a crutch, it works surprisingly well here, weaving into the tone of quiet dread and helping sketch the psychological unraveling at play. John Patrick Dover‘s screenplay is thoughtful and taut, blending moments of restrained reflection with bursts of controlled brutality.

The film is visually striking, too. It’s terrifically shot with expert level lighting that gives the safehouse and its surrounding moors a haunting, otherworldly quality. Every frame feels calculated and draped in a stylish swagger that elevates the familiar heist-gone-wrong setup into something more visually beautiful. Simply put, this is a terrific looking movie.

The largely male ensemble is perfectly cast, with Marsan proving himself as the real standout. He’s threatening yet magnetic, completely consuming his role as a tough authority. He effortlessly carries the entire film.

If there’s a weak point, it’s the ending. The finale feels underwhelming after such a carefully wound buildup, and it doesn’t quite live up to the intensity of what came before. The pacing also drags in places, though it suits the film’s slow burn psychological focus.

Slick, unsettling, and gorgeously crafted, “All the Devils Are Here” is a stylish portrait of moral decay, shifting loyalties, and the darker side of human nature.

By: Louisa Moore