‘Allswell In New York’ Review – A Quiet Ode To Life’s Messy, Unspoken Moments

In Allswell In New York, we witness a slice of life that feels both intimately familiar and refreshingly rare in today’s cinema landscape. Directed by Ben Snyder and written in collaboration with Elizabeth Rodriguez, Liza Colón-Zayas, and Daphne Rubin-Vega—who also lead the ensemble cast—the film carefully reveals a network of interconnected lives, layered with tensions that simmer rather than explode. It’s a deliberate, sometimes languid journey, but its characters carry us, drawing us into a world where real-life stakes aren’t just about life and death but about bruised hearts, unspoken betrayals, and moments of quiet forgiveness.

At its core, Allswell is a family drama, grounding itself in the messy, unglamorous business of day-to-day survival. Daisy (Elizabeth Rodriguez) is a doctor struggling to juggle a demanding career and a personal life that includes plans for a baby with surrogate Nina (Mackenzie Lansing). Her sister, Ida (Liza Colón-Zayas), is a restaurant owner who shares Daisy’s stubborn pride, while their friend Serene (Daphne Rubin-Vega), a former singer, is now a single mother coping with her teenage daughter Connie (Shyrley Rodriguez) pulling away. Around them revolves a constellation of men—Ida’s husband Ray (Michael Rispoli), Daisy’s business partner Gabe (Bobby Cannavale), and nurse Clint (J. Cameron Barnett)—who offer brief but impactful contributions to the unfolding story.

One of the film’s strengths lies in its attention to detail in portraying its female leads, who aren’t defined by their relationships with men but by the bonds and friction they share with each other. Allswell resonates most when it explores these relationships, allowing moments to breathe so that subtle emotions can emerge. There’s a raw authenticity in how Daisy, Ida, and Serene navigate their ties, each woman fighting to maintain control in lives often overshadowed by unfulfilled dreams and obligations. Rodriguez, Colón-Zayas, and Rubin-Vega embody these roles with a gritty sincerity that conveys both strength and vulnerability, making the film feel like a love letter to women who may be scarred but are still reaching, still caring, still imperfectly thriving.

The film’s charm lies in its quiet, almost meandering pace, which may test some viewers’ patience. There are moments when it feels like we’re treading familiar emotional ground without much progress. But just when you think it’s all going in circles, the story hits you with these beautifully awkward, real-life crises—like Ray’s attempt to comfort Ida, which is as clumsy as it is touching, or Serene’s frantic, and sometimes hilarious, phone calls trying to track down Connie. It’s in these moments that the love between these characters shines through, messy and imperfect, struggling to break free from the chaos of daily life. It’s a bit like The Big Chill, where the tension between old friends (or in this case, family) becomes the backdrop for moments of self-realization and unexpected tenderness. Allswell is a little more low-key, but just as smart in how it finds humor and warmth in the messy details of life. Instead of leaning into heavy sentiment or drama, the film lets its characters shine through in their small, heartfelt moments, showing us that, even when life isn’t perfect, the love we share can be.

Perhaps most striking is the film’s choice to allow its male characters moments of resonance without overshadowing the female leads. Rispoli’s portrayal of Ray is particularly memorable, bringing warmth and a touch of humor to a role that could easily have been one-dimensional. Cannavale, too, makes the most of limited screen time, injecting energy into his role as Gabe, a restaurant partner whose interactions with Daisy are both prickly and affectionate. In one memorable kitchen confrontation, the camera captures a fleeting but intense moment of middle-aged exasperation that feels almost like theater, a stage where each actor offers a glimpse into a lifetime of struggles and compromises.

What makes Allswell special is its gentle way of showing just how much the little moments matter. Instead of big dramatic scenes, it focuses on the quiet, complicated interactions that shape the characters’ lives. A simple car ride between Connie and Daisy is especially touching, as the two women—one young and fearless, the other weary but strong—finally find a way to understand each other without saying much at all. In these soft, everyday moments, Allswell finds its heart, reminding us that the real beauty of family lies in the small acts of understanding and the quiet spaces where forgiveness can grow.

Allswell sets out to explore big themes in an intimate way. While it occasionally meanders, this gentle pacing reveals the beauty in its characters’ quiet resilience. Without grand gestures or polish, the film offers an honest portrayal of the everyday ups and downs of family life. It reminds us that healing in any family takes time and unfolds in small, unremarkable moments.

Allswell In New York is currently playing in select theaters courtesy of Freestyle Digital Media. The film will debut on Digital platforms on November 19, 2024.