Atul and Vina celebrate their wedding with family and friends. The couple look forward to their honeymoon, and spending the rest of the lives together. Before they can get to this stage, Atul underestimates the interference of his father, as well as the issues that arise from living with his family…
Written by Ayub Khan-Din, based on his play, All in Good Time is haphazard at best. The narrative and pacing are all over the place. The film cannot seem to decide what it is actually about. It veers between the marriage of Atul and Vina, the relationship between Atul and his father Eeshwar, and the relationship of Eeshwar and his wife Lopa. Owing to the shift in emphasis from one strand to another, none of them feel fully developed or satisfactorily concluded. To complicate matters, tangents are thrown in well after the half way mark.
The main problem with All in Good Time is that it is poorly written. Khan-Din could have done something interesting with Atul’s problem. After all, several possible explanations are alluded to. Instead, the film opts for a half-backed reason with no real explanation, and an ill-conceived ending. Moreover, the lack of coherence effects the pacing, making the film feel a lot longer than it actually is.
There is nothing really engaging about Atul and Vina. Elsewhere, stereotypes abound, with parents Eeshwar and Lopa fulfilling tired archetypes of Asian characters in British movies. Supporting roles are populated by characters meant to amuse viewers. These offer nothing original. There are a few moments of humour, but jokes often fall flat. The dialogue can be trying at times.
Performances are fine overall. Amara Karan delivers a decent performance as Vina. Reece Ritchie is suitably cast as Atul, while the one-dimensional characterisation hinders the performances of Meera Syal and Harish Patel.
It seems to be too much to ask for a British Asian film to be at least well written. The last few movies in this category have been uninspiring, and All in Good Time does nothing to buck this trend.