The Allnighter

At first, that would seem to include Belle, but she, too, becomes a character worth caring about rather than simply an agent of chaos in Terence’s life. There’s an endearing twinkle in her eye that obscures the pain and uncertainty she’s usually careful not to show, and Lodge nails her mercurial but charismatic vibe. The way that these two very different characters bounce off of one another and the restraint with which Graham lets their not-quite-romantic relationship play out enjoyably defy expectations, as well. Even when the film borrows a very familiar slapstick trope – Belle convinces Terence to pretend he’s her fiancée during a visit to her parents’ home – the situation feels natural and fresh because both of the characters do.

As appealing as Terence and Belle are, and as poignant as its observations about love, family, and finding purpose can be, though, The Allnighter can also tend to feel a little bit overstuffed. Quite simply, it packs in more supporting characters and tangential subplots than a movie this short can successfully juggle. Terence’s mom (Sylva Kelegian), for example, has a debilitating gambling problem. Belle’s dad (James Russo) has a tendency to belittle her behind her back, even when he means well. Terence lives in the shadow of his big brother (Jilon VanOver), a Hollywood actor on a career upswing. Belle’s older sister has been missing in action for twenty years, and no one in her family has successfully dealt with her absence. And that – all of that – is just for starters. There’s enough material here for an entire season of TV, and the effort to make it all coalesce in a satisfying way is admirable but destined to fall a little short.

“…feels natural and fresh…”

If there is an upside to the inclusion of all of these disparate elements, though, it’s that there’s room for a lot of welcome and familiar faces. David Koechner gets an uncharacteristically serious role, Justine Bateman shows up for a bit, and – best of all – the late Tommy “Tiny” Lister Jr. makes a few memorable appearances in what is, sadly, one of the Friday star’s last outings onscreen.

Graham has an obvious gift for creating interestingly flawed but likable characters. But, at least this time around, it’s somewhat at odds with her film’s brevity and often over-caffeinated pacing. The ellipses between important narrative beats can frustrate, even though the plot mechanics are ultimately secondary to the characterization. Still, The Allnighter otherwise shows a lot of strong instincts on the part of its first-time feature director, and it ends on a quietly graceful note that bodes well for Graham’s next effort. Whether she decides to make something more expansive and multifaceted or to pare things down and keep it simple, this film – especially in its central relationship – demonstrates a lot that she can capitalize on.