Rating: R | Runtime: 87 minutes
Release Date: September 26th, 2025 (USA)
Studio: Republic Pictures
Director(s): Barnaby Roper
Writer(s): John Patrick Dover

I can’t do this anymore.

Narrated by Ronnie (Eddie Marsan) as though a letter to the daughter he never got to raise due to a life of crime, Barnaby Roper’s All the Devils are Here follows what he hopes might be his final job for the enigmatic Mr. Reynolds. He never officially explains this hope to Harold Laing (Rory Kinnear) when getting his instructions, but we see it in his demeanor. This is but a task. Ronnie feels no joy in the robbery itself nor the need to babysit a psychopath (Sam Claflin’s Grady) and a novice (Tienne Simon’s Royce). He’s done.

As John Patrick Dover’s script constantly reminds us, however, that’s not his decision to make. No, Mr. Reynolds is the end all be all voice of God. He tells you when to jump and when to jump higher. So, Ronnie will supervise the robbery and live up to his four-decades-long reputation of professionalism. He’ll chaperone his accomplices, pick-up their remunerator (Burn Gorman’s Numbers), escort them all to a desolate farmhouse, and cook them dinner while they await their next orders from the boss.

Whereas Ronnie is used to relying on a job well done to be followed by a swift response, this particular operation wasn’t that. Sure, they got the money, shook the police, and made it to their destination. But they also left a couple bodies along the way—something he knows Mr. Reynolds won’t be happy to learn. Is it enough to listen to Grady and Royce when their respective chaotic nature and paranoia pose the hypothesis that they’ve been cut loose and should take the money and run? No. He knows that would only earn a worse fate.

The film is therefore about the waiting. Grady getting drunk. Royce confronting his fears. Numbers shooting heroin while his “best girl” reel-to-reel blares music. Ronnie smoking cigarettes while reading Dickens with an eye always surveying the temperature of the group. Must he make an example of Grady? Will he cave and agree they’ve been left for dead? Might Grady go on a rampage during the night, killing the others out of boredom? Heck, even C’s (Suki Waterhouse) late arrival for a supply run only seems to increase the urge to flee.

As each day progresses and their demeanors start fraying, Roper and Dover sprinkle in flashbacks to Harold Laing’s office so we can glean a little more about the other characters from their conversations. It’s only fair since Ronnie’s initial meeting provided insight into his motivations and loyalty. Let us also learn how anyone thought Grady was trustworthy. Share details on why Royce was added to the team despite being so green. Even Numbers seems out of place considering the drug addiction and Ronnie’s admission that they’ve never crossed paths.

I personally began to assume it was all a test. Put this eclectic bunch together to weed out who’s unreliable and see if Ronnie can still be relied upon with one foot out the door. Because if he’s willing to put the screws to this trio and either get them in line or erase them from the equation, maybe retirement is a possible alternative to simply killing him for his service. It’s a legitimate theory to go along with the one stating Reynolds is pissed and leaving them all to die. And since we’re going stir-crazy too (Could C be Ronnie’s kid?), everything is on the table.

Should I have guessed Dover’s main reveal? Probably. It’s a bit of a cop-out, but I really like that there’s a super bleak epilogue of sorts making it less so. The choice doesn’t ultimately matter anyway since the characters’ devolution would happen either way. That’s where the film’s purpose lies. Who Royce will decide to become. Whether Grady will stop talking long enough to see he’s not the alpha in the room. If Ronnie finally snaps to make good on his firm verbal assertion of power. Who Numbers is and why Grady thinks he knows him.

Without these characterizations and the talented cast bringing them to life (I was initially going to skip this one until seeing how stacked the credits were), every feasible ending to All the Devils are Here becomes moot. The actors make this morality tale sing with hypocrisy, vice, and regret. Scenes like Marsan begging Simon to give up crime or Claflin humorously sharing his persuasively crude intentions work precisely because they’ve nowhere else to go. Neither reason nor hope can save them from what they truly can’t escape: themselves.

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Eddie Marsan, Tienne Simon, Burn Gorman, and Sam Claflin in ALL THE DEVILS ARE HERE; courtesy of Republic Pictures.