---
title: "All Is Lost"
year: 2013
kind: "film"
canonical: "https://film.one/film/all-is-lost"
fi1m_id: "all-is-lost"
imdb_id: "tt2017038"
tmdb_id: 152747
wikidata_id: "Q2837490"
fi1m_score: 82
critics_score: 79
critics_reviews: 27
published: "2026-10-01T22:25:34.768023+00:00"
updated: "2026-10-01T22:25:35.660719+00:00"
region: "KR"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# All Is Lost (2013)

Directed by J.C. Chandor · 1h 46m · KMRB 12 · Action, Adventure, Drama

## Identity

All Is Lost

- **Canonical:** https://film.one/film/all-is-lost
- **Type:** Film
- **Fi1m ID:** all-is-lost
- **IMDb ID:** tt2017038
- **TMDB ID:** 152747
- **Wikidata ID:** Q2837490
- **Same entity:** https://www.imdb.com/title/tt2017038/, https://www.themoviedb.org/movie/152747, https://www.wikidata.org/wiki/Q2837490

**Fi1m score: 82** · Critics 79 from 27 reviews

*In a sentence:* We would not last five minutes at sea, but Robert Redford briefly makes us think we might

> Robert Redford makes this spare survival drama gripping through the effort of staying composed. J.C. Chandor trusts physical action for most of its running time; the score is less willing to leave us alone.

## Synopsis

In J.C. Chandor’s *All Is Lost*, photographed by Frankie DeMarco, Our Man (Robert Redford) is alone at sea, trying to stay alive with only his own strength and judgement to rely on. He meets each demand with practical effort, saying little as he works. The strain tests his ageing body, and there is no companion to share the work or help him make decisions. Little is explained about the life he has left behind. His attention stays on the danger in front of him and on getting through the next difficulty without losing control of himself.

## Review

*All Is Lost* is a gripping survival film, with a little more music than it needs. J.C. Chandor puts Robert Redford alone at sea and gives him almost no dialogue, leaving us to watch a man work out how to remain alive. We do not need a family history to understand the wish. We need to believe in the effort, and the actor makes each demand on his ageing body matter.

The performance is persuasive because he never seems eager to demonstrate courage. His stillness suggests someone accustomed to managing a problem before admitting how bad it is. We were frightened for him when the strain of the physical work showed through that calm. He makes it possible to watch a man concentrating for long stretches without wishing he would explain himself. The occasional uncertainty is crucial: he can seem resourceful without making us assume that he has everything under control.

Frankie DeMarco’s cinematography gives the surrounding water enough attention to make it absorbing in its own right. It can hold the eye even when little appears to be happening, which helps the film sustain its quiet passages. John P. Goldsmith’s production design is suitably unobtrusive, keeping our attention on the practical business of staying alive. The sea sequences retain a convincing sense of physical danger even when the water invites us to sit and stare.

Pete Beaudreau’s editing gives the physical action enough time to make sense. We can follow the effort instead of merely receiving a succession of emergencies, which matters in a film with so little speech. At 106 minutes, the film occasionally makes us feel the repetition in its sequence of difficulties. Still, the patience generally works: we have time to understand why the next effort matters, without another character having to explain it for our benefit.

The sound is often more useful than the music. The ocean’s noise makes the man’s silence unsettling, and it supplies enough warning and uncertainty without further assistance. Alex Ebert’s score can be affecting, but its more insistent passages tell us how much to feel when the image has already done the work. It is a modest complaint, though an audible one in a film so sparing elsewhere. We wanted more confidence in the water and in the actor.

As screenwriter as well as director, J.C. Chandor resists giving the man a convenient past to explain his behaviour. That is a useful departure from survival dramas which make us wait through memories before letting us attend to the danger in front of us. The lack of explanation can keep us at a slight distance from him, but it also stops his persistence being reduced to one tidy motive. We can recognise the wish to carry on without needing to know whom he hopes to see again.

This is a film to watch without dividing your attention. A glance away loses something when so much rests on a face, a physical effort or a small change in composure. Those who need conversation and a fully explained character may find its restraint frustrating. Give it a quiet evening, and let the man get on with the work.

*Fi1m score 82, published 1 October 2026.*

## What the critics say

Most critics find All Is Lost a gripping survival drama, with praise centred on Robert Redford’s restrained, physically expressive performance. The reviews repeatedly credit him with conveying vulnerability, age and determination with little dialogue. Chandor’s visual storytelling also draws broad approval: the methodical action, sea imagery and detailed sound make exposition seem unnecessary to many reviewers. For its strongest supporters, that spareness makes the struggle both tense and moving.

The spread runs from enthusiastic praise to mixed responses, with no outright negative verdicts. Reservations centre on emotional distance, repetition and whether the restraint can sustain the running time. The Guardian admires Redford but finds the character difficult to reach; Little White Lies goes further, questioning his performance’s realism and finding the pace too sedate. The score divides opinion too, while several otherwise enthusiastic reviews express doubts about the ending’s handling.

## Straight answers

**Is All Is Lost worth watching?**

*All Is Lost* is worth watching for its gripping, nearly wordless survival drama, and we score it 82 out of 100. Robert Redford makes the practical effort of staying alive absorbing, though the music sometimes presses too hard and the difficulties occasionally feel repetitive. We recommend it for a quiet evening with undivided attention.

**How long is All Is Lost, and what is it rated?**

*All Is Lost* runs 1h 46m and is rated 12 by the KMRB in South Korea. It is an action and adventure film.

**Where can I watch All Is Lost in South Korea?**

*All Is Lost* is available to rent from Apple TV from ₩2,500. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is All Is Lost, and is it suitable for children?**

*All Is Lost* carries a UK 12 certificate, and its convincing physical danger makes it a tense choice rather than an easy children’s adventure. We find the strain on Redford’s ageing body frightening as he works alone to survive at sea. It is better suited to teenagers comfortable with sustained peril and long, quiet passages than to younger children.

**How does All Is Lost compare to A Man Escaped?**

*All Is Lost* shares [*A Man Escaped*](https://film.one/film/a-man-escaped)’s ability to turn careful practical work into sustained suspense, but exchanges prison preparation for solitary survival at sea. We favour *A Man Escaped* for viewers seeking greater restraint, with sound carrying much of its danger where *All Is Lost* sometimes pushes its music too hard. Redford’s physical performance gives the sea drama its own strong appeal.

**What should I watch after All Is Lost?**

After *All Is Lost*, try [*A Man Escaped*](https://film.one/film/a-man-escaped) (1956, Fi1m 90): Careful hands and close attention turn practical work into sustained suspense. Then [*The Straight Story*](https://film.one/film/the-straight-story) (1999, Fi1m 88): An ageing man’s determination receives the same patient attention, with more conversation; and [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) (1953, Fi1m 90): Working through one physical hazard after another becomes an exacting test of nerve.

### Reviews we read (27)

- **Time Out**, Joshua Rothkopf (5/5): The review is strongly positive about the film. It singles out Robert Redford’s tough, manly screen presence for praise. [Read](https://www.timeout.com/movies/all-is-lost)
- **Empire**, Chris Hewitt (90/100, inferred): Hewitt considers the film a triumph of pure cinema, driven by Redford’s sublime performance. He singles out Chandor’s assured direction and the visual storytelling for praise. [Read](https://www.empireonline.com/movies/reviews/lost-review/)
- **IndieWire**, Eric Kohn (A-): Kohn finds the film an impressive, minimalist work, with Robert Redford’s performance carrying its themes of mortality. He praises Redford’s expressive physical acting, while noting that the patient pacing and occasional score can overstate the material. [Read](https://www.indiewire.com/criticism/culture/review-robert-redfords-strangest-role-of-his-career-in-j-c-chandors-all-is-lost-might-be-his-best-33932/)
- **Sight and Sound**, Michael Koresky (90/100, inferred): Koresky admires the film’s elemental, tightly sustained approach and finds it an operatic experience. He especially praises Robert Redford’s physically demanding performance and the empathy it earns for the solitary character. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-all-lost)
- **The AV Club**, Mike D'Angelo (A-): D’Angelo calls the film a triumph of dramatic minimalism, while noting that Redford’s performance is too single-minded to reach greatness. He praises its unsparing realism and the way it makes backstory and exposition feel unnecessary. [Read](https://www.avclub.com/all-is-lost-1798178343)
- **Variety**, Justin Chang (90/100, inferred): Chang praises the film as an emotionally resonant, eloquent survival drama and calls Redford’s performance superb. He especially singles out the resourceful, nearly wordless storytelling and the deeply moving ending, while noting that the final scene risks overcalculation. [Read](https://variety.com/2013/film/markets-festivals/cannes-film-review-all-is-lost-1200486217/)
- **Los Angeles Times**, Betsy Sharkey (85/100, inferred): Sharkey finds the film remarkably skillful, deeply moving and riveting. She especially praises Robert Redford’s grounded, unshowy star performance in a role that makes his age and physical limits part of the story. [Read](https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-is-lost-review-20131018-story.html)
- **Vulture**, David Edelstein (85/100, inferred): Edelstein finds the film deeply satisfying, though he thinks its final decision is awkwardly timed and overly mythic. He singles out Robert Redford’s absorbing performance, anchored by his expressive stillness and gradual loss of composure. [Read](https://www.vulture.com/2013/10/movie-review-all-is-lost.html)
- **Radio Times**, Damon Wise (4/5): The review suggests the drama starts slowly before becoming deadly serious. It singles out the shift to life-threatening danger when a massive storm hits. [Read](https://www.radiotimes.com/movie-guide/b-5jq3y2/all-is-lost/)
- **Total Film**, Kevin Harley (4/5): The review finds the film thrilling and thoughtful, despite some repetition and an overused score. It praises Chandor’s immersive direction and Redford’s restrained, compelling performance. [Read](https://www.gamesradar.com/all-is-lost-review/)
- **The Hollywood Reporter**, Todd McCarthy (76/100, inferred): McCarthy finds the survival story compelling and praises Robert Redford’s natural, unshowy performance. He also approves of the film’s resourceful, coherent technical execution, while noting its deliberately spare approach. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/cannes-review-all-is-lost-527327/)
- **Film Comment**, Graham Fuller (70/100, inferred): The available standfirst presents the film as a dignified survival story. It singles out Robert Redford’s clear-eyed performance as he faces death at sea. [Read](https://www.filmcomment.com/article/review-all-is-lost-robert-redford/)
- **The New York Times**, A.O. Scott (70/100, inferred): Scott finds the film an absorbing, suspenseful survival story. He particularly praises Robert Redford’s compelling performance in a role with almost no dialogue. [Read](https://www.nytimes.com/2013/10/18/movies/all-is-lost-with-robert-redford-at-sea.html)
- **Screen Daily**, Tim Grierson (64/100, inferred): The review’s verdict cannot be determined because the article body is behind a paywall. Its specific praise or criticism is likewise unavailable in the page text. [Read](https://www.screendaily.com/all-is-lost/5056640.article)
- **Slant Magazine**, Nick Schager (2.5/4): Schager finds the film austere and compelling overall, though its detached perspective and weak CGI undermine it. He praises Robert Redford’s performance as the source of the film’s suspense and strength. [Read](https://www.slantmagazine.com/film/all-is-lost/)
- **Little White Lies**, Sophie Monks Kaufman (3/3/3): The critic finds the film atmospheric but too sedate, with the engine giving out before its runtime ends. She praises the hypnotic water and the interesting ambiguity of the ending, while faulting Robert Redford’s performance for undermining the realism. [Read](https://lwlies.com/reviews/all-is-lost)
- **The Guardian**, Andrew Pulver (55/100, inferred): Pulver finds the film compelling but too pared-down to make its central character emotionally accessible. He praises Robert Redford’s tour de force performance, especially the subtle uncertainty conveyed by his age. [Read](https://www.theguardian.com/film/2013/may/22/all-is-lost-review-cannes-2013)
- **Evening Standard** (45/100, inferred): The critic finds the film visually striking but emotionally distant and less involving than its survival story might suggest. They praise its convincing sea sequences and evocative sound design. [Read](https://www.standard.co.uk/culture/film/all-is-lost-film-review-9017616.html)
- **Den of Geek**, Ryan Lambie (5/5): Lambie praises the film as eloquent, beautiful cinema and a powerful meditation on courage in adversity. He singles out Robert Redford’s hypnotic physical performance and the meticulous sound and visuals. [Read](https://www.denofgeek.com/movies/all-is-lost-review/)
- **The Skinny**, Philip Concannon (★★★★★): The critic finds the film profoundly moving, while noting its bold ending may divide opinion. He praises Robert Redford’s commanding performance and Chandor’s efficient, single-minded filmmaking. [Read](https://www.theskinny.co.uk/film/new-releases/all-is-lost)
- **Paste**, Annlee Ellingson (9.1/10): Ellingson praises the film as a bold, primal survival story that finds power in its restraint. She singles out Robert Redford’s resourceful, dignified physical performance and the ocean’s natural soundscape and imagery. [Read](https://www.pastemagazine.com/movies/all-is-lost)
- **The Wrap** (85/100, inferred): The critic finds the film moving and quietly inspiring, with its focus on perseverance and self-reliance. Redford’s vulnerable, physically expressive performance is singled out as the film’s greatest strength. [Read](https://www.thewrap.com/cannes-review-all-lost-robert-redfords-jc-chandor-actions-speak-much-louder-words-93246/)
- **Collider**, Matt Goldberg (B+): Goldberg praises the film as a masterful exercise in visual storytelling, though he finds its emotional impact tenuous. He singles out Chandor’s use of nature’s noise and the protagonist’s silence to convey isolation. [Read](https://collider.com/all-is-lost-review/)
- **Eye for Film**, Richard Mowe (80/100, inferred): Mowe finds the film a gripping survival struggle, with Redford delivering a commanding, magnetic performance. He also praises the taut shooting, tight editing, and haunting, unobtrusive score. [Read](https://www.eyeforfilm.co.uk/review/all-is-lost-2013-film-review-by-richard-mowe)
- **HeyUGuys**, Craig Skinner (4/5): The critic finds the film gripping, emotionally powerful and astonishingly crafted. They single out its tense, methodical survival storytelling and Robert Redford’s central performance for praise. [Read](https://www.heyuguys.com/cannes-2013-all-is-lost-review/)
- **Digital Spy**, Simon Reynolds (75/100, inferred): The critic finds the film visually striking and recommends seeing it on the big screen, though its emotional payoff is limited. Redford’s understated performance and the superb sound design are singled out for praise. [Read](https://www.digitalspy.com/movies/bfi-london-film-festival/a523175/all-is-lost-review-bfi-london-film-festival-2013/)
- **The Playlist** (65/100, inferred): The page identifies a review of J.C. Chandor’s All Is Lost, but its review text is inaccessible. The headline suggests attention to the film’s bruising, formally rigorous approach, though the critic’s verdict cannot be verified. [Read](https://theplaylist.net/review-j-c-chandor-puts-robert-redford-through-watery-hell-in-bruising-formally-rigorous-all-is-lost-20131016/)

## Details

- **Director:** J.C. Chandor
- **Director:** J.C. Chandor
- **Screenplay:** J.C. Chandor
- **Cinematography:** Frankie DeMarco
- **Editor:** Pete Beaudreau
- **Music:** Alex Ebert
- **Production design:** John P. Goldsmith
- **Costume design:** Van Broughton Ramsey
- **Producer:** Neal Dodson, Justin Nappi, Teddy Schwarzman
- **Cast:** Robert Redford as Our Man
- **Runtime:** 1h 46m
- **Certificate (KMRB):** 12
- **Release (South Korea):** 7 November 2013
- **Genres:** Action, Adventure, Drama
- **Budget:** $9 million
- **Box office:** $6 million
- **Trailer:** https://www.youtube.com/watch?v=dPv7kzQs59A

## Where to watch in South Korea

- Apple TV: rent ₩2,500, hd
- Apple TV: buy ₩7,000, hd

*Checked 2026-10-01.*

Also available in: AT, AU, BE, BG, CA, CH, CZ, DE, DK, EE, ES, FI, FR, GB, HK, HR, HU, IE, IT, JP, KR, LT, NL, NO, NZ, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2014: Best Sound Editing (nominated)

## If you liked this

- *Arctic* (2018): Another solitary survivor whose practical decisions make the danger painfully easy to grasp
- *The Naked Island* (1960): Patient physical work and scarce dialogue make an ordinary struggle absorbing
- *A Man Escaped* (1956), Fi1m 90: Careful hands and close attention turn practical work into sustained suspense — [Fi1m page](https://film.one/film/a-man-escaped.md)
- *The Straight Story* (1999), Fi1m 88: An ageing man’s determination receives the same patient attention, with more conversation — [Fi1m page](https://film.one/film/the-straight-story.md)
- *The Wages of Fear* (1953), Fi1m 90: Working through one physical hazard after another becomes an exacting test of nerve — [Fi1m page](https://film.one/film/the-wages-of-fear.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/all-is-lost