“All Saints Day” follows Ronan, who sparks a chaotic family reunion, botched intervention and an unexpected journey into forgiveness while trying to stop his oldest brother from drinking himself to death.
Julianne Homokay’s script (based on her play, “All Saints in the Old Colony”) captures the realism of everyday life. This isn’t always glamorous. In fact, it’s often jarring. Rather than following a strict directional narrative, the film almost moves aimlessly like the world itself. This approach is fundamental to the identity of “All Saints Day,” while also hindering its pacing.
The first third of the 99-minute runtime is challenging to fully engage with. The talented performers instantly bring gravitas to the material, but there’s no momentum story-wise. Shifting between several different characters to provide introductions for each of them, it puts pieces in place. However, they only feel like that — pieces. Playing out like a series of unconnected scenes, the emotions that it attempts to convey don’t completely come across.
Ece Muniroglu’s score includes the soft notes needed for emotional beats. The problem isn’t the melodies themselves, but more so how they’re utilized. “All Saints Day” is at its best when the focus is on the characters. As similar musical cues are repeatedly injected, it feels like the film is attempting to force sentiment rather than earn it.
While the structure remains uneven, director Matt Aaron Krinsky achieves consistency in balancing tones. Both a family drama and dark comedy, it features exaggerated characters: a drunk, a priest, a long-lost sister and… Ronan. Because of the individuals, the film is able to intertwine these tones with ease. The material itself may be dark, but they constantly bring light to situations through their dialogue.
A big reason for this is the actors themselves, featuring Jeff Berg (Ronan), Don Swayze (Kier), Chad Döreck (Mickey) and Aly Trasher (Fiona). Berg is the most charismatic of the group, with a magnetic presence but also a caring one. Swayze’s performance relies on both his physical cues and verbal delivery, authentically portraying the troubled individual that he plays. Döreck has more of a defensive personality, bringing a constant state of agitation and distress to the screen. Trasher maintains a quiet presence, keeping the more abstract temperaments in check.
This ensemble cast, together, makes the collection of characters feel like a real family. They fight — a lot. But they also care. As “All Saints Day” nears its end, this grows to become the “compass” that it initially lacked.
Taking place in a contained setting, director of photography Sam Krueger uses different techniques to distinguish the visuals. It’s similar to another 2026 release, “The Invite,” turning a house/apartment environment into a battleground for dialogue. In single scenes alone, Krueger shifts between wide angles and close-ups alongside static shots and handheld footage. In doing so, he counteracts the simplicity of the dim, yellow-lit corridors.
“All Saints Day” features a broken family that aspires to be better. The story progresses slowly, but the authenticity inside it makes the messaging significant.
Rating: 3 out of 5
