Everything Everywhere All at Once
Everything Everywhere All at Once
Starring Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis
Directed by Daniels
Starring Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis
Directed by Daniels
When I first saw the trailer for "Everything Everywhere All at Once," my only thought was: "want, need, give!" I had to endure several months of torturous anticipation, all the while hearing about how groundbreaking, revolutionary, and downright original the film was, garnering praise practically universally. So when I finally was able to see it, my expectations were already sky-high, and it only seemed natural that my expectations would be diminished after viewing it. Somehow, some way, by some happenstance, not only were my lofty expectations met, but the film blew them out of the ceiling. Out of the countless films I've seen in my life, this is one that will resonate with me, marinating in my very essence for a long time to come, and ultimately it was more than a film - it was a marvelous experience.
Evelyn Wang (Michelle Yeoh) is an aging woman who's an owner of a down-and-out laundromat with her always happy-go-lucky husband Waymond (Ke Huy Quan) and her rebellious adult daughter Joy (Stephanie Hsu), along with her aging father Gong Gong (James Hong), who at one point in life disowned her for choosing Waymond. During a fateful trip at the IRA to meet inspector Deirdre Beaubeirdra (Jamie Lee Curtis), Evelyn is transported to another dimension where she meets another Waymond, who tells her that she is the key to saving the multiverse from an unspeakable evil. Now it's up to Evelyn to not just accept the impossible, but become the hero that the multiverse needs.
Reviewing a film like this isn't easy, because it's one of those movies that you need to go into virtually blind in order to truly appreciate the sheer madness it delivers. Directors Dan Kwan and Daniel Scheinert (together known as Daniels) co-wrote the script and provided a wholly unique, fantastical viewpoint that focuses on so many different ideas and ideals that when you think the film is following one trajectory, you're instantly shot like a sling shot into a whole another concept before being flung around again like laundry in a washing machine, and you don't mind it one bit. Each moment, each scene, each...everything...is an absolute masterpiece of sheer perfection that proves cinema is alive and well, and not just littered with Marvel films and long-gestating franchises.
Michelle Yeoh has been a mainstay in cinema for decades, and is best known for her compelling, artful martial arts films like "Crouching Tiger, Hidden Dragon," and here she not only showcases her action prowess, but harnesses a surprising darkly comedic timing you wouldn't expect from the acclaimed actress. As Evelyn, she balances feeling that her life has been wasted while trying to reconcile with her daughter and re-connect with her husband - as well as coming to terms with the fact that she's a multi-dimensional badass. She grounds this otherwise out-there film in a way that keeps you anchored during the wild, unforgettable ride you'll partake in.
The supporting characters as well offer their own unique styles and committed performances, each one offering more than just what scratches the surface, but the surface is all I'll focus on here so you can see the grandeur for yourself and be in awestruck amazement. Stephanie Hsu plays Evelyn's daughter with a duel sense of sadness and desire for acceptance. Ke Huy Quan (making his long-awaited return to film after starring as Short Round in "Indiana Jones and the Temple of Doom" and Data in "The Goonies") plays Evelyn's long-suffering husband who's always got a smile on his face and is cheerful and loving. Longtime veteran actor James Hong has more to offer in the role of Evelyn's father Gong Gong than meets the eye, and you'll never see Jamie Lee Curtis quite the same way again, and that's a good thing.
The script for the film centers on several issues, which again I won't go into full detail here, but Daniels manages to make a completely nihilistic film feel fresh and new, incorporating the multiverse idea in a totally unique way that doesn't feel forced, contrived, or manipulative. The effects are groundbreaking, shattering worlds and serving as a wonderful feast for the eyes, along with the multiple unique costume designs that dazzle and amaze. The action sequences are succinct, beautifully choreographed, and magically shot. Honestly, I can't think of one negative thing about this epic.
I guess the only thing I can think of that'll give a negative light to the film is that it probably won't receive the awards recognition it deserves, as by the end of the year anything coming out in early April will probably be forgotten. In a perfect world, this movie would receive Oscar nominations for Best Picture, Best Actress, Best Director, Original Screenplay, Visual Effects, Costume Design, Cinematography and Film Editing. If the Academy totally ignores this masterpiece, it's to their detriment.
Offering more than just a multidimensional action epic, "Everything Everywhere All at Once" lives up to its title by incorporating everything all the genres excel at: from action to drama, to comedy and even horror, it holds up to the "everything" theme. Throughout the film you'll follow the wide range of emotions - from laughter to cheers, and even some tears - that you'll feel "everywhere," and of course, this happens..."all at once." This is one film you'll never forget, and ultimately elevates itself above a film and becomes transcendent.
The Score: A+
Evelyn Wang (Michelle Yeoh) is an aging woman who's an owner of a down-and-out laundromat with her always happy-go-lucky husband Waymond (Ke Huy Quan) and her rebellious adult daughter Joy (Stephanie Hsu), along with her aging father Gong Gong (James Hong), who at one point in life disowned her for choosing Waymond. During a fateful trip at the IRA to meet inspector Deirdre Beaubeirdra (Jamie Lee Curtis), Evelyn is transported to another dimension where she meets another Waymond, who tells her that she is the key to saving the multiverse from an unspeakable evil. Now it's up to Evelyn to not just accept the impossible, but become the hero that the multiverse needs.
Reviewing a film like this isn't easy, because it's one of those movies that you need to go into virtually blind in order to truly appreciate the sheer madness it delivers. Directors Dan Kwan and Daniel Scheinert (together known as Daniels) co-wrote the script and provided a wholly unique, fantastical viewpoint that focuses on so many different ideas and ideals that when you think the film is following one trajectory, you're instantly shot like a sling shot into a whole another concept before being flung around again like laundry in a washing machine, and you don't mind it one bit. Each moment, each scene, each...everything...is an absolute masterpiece of sheer perfection that proves cinema is alive and well, and not just littered with Marvel films and long-gestating franchises.
Michelle Yeoh has been a mainstay in cinema for decades, and is best known for her compelling, artful martial arts films like "Crouching Tiger, Hidden Dragon," and here she not only showcases her action prowess, but harnesses a surprising darkly comedic timing you wouldn't expect from the acclaimed actress. As Evelyn, she balances feeling that her life has been wasted while trying to reconcile with her daughter and re-connect with her husband - as well as coming to terms with the fact that she's a multi-dimensional badass. She grounds this otherwise out-there film in a way that keeps you anchored during the wild, unforgettable ride you'll partake in.
The supporting characters as well offer their own unique styles and committed performances, each one offering more than just what scratches the surface, but the surface is all I'll focus on here so you can see the grandeur for yourself and be in awestruck amazement. Stephanie Hsu plays Evelyn's daughter with a duel sense of sadness and desire for acceptance. Ke Huy Quan (making his long-awaited return to film after starring as Short Round in "Indiana Jones and the Temple of Doom" and Data in "The Goonies") plays Evelyn's long-suffering husband who's always got a smile on his face and is cheerful and loving. Longtime veteran actor James Hong has more to offer in the role of Evelyn's father Gong Gong than meets the eye, and you'll never see Jamie Lee Curtis quite the same way again, and that's a good thing.
The script for the film centers on several issues, which again I won't go into full detail here, but Daniels manages to make a completely nihilistic film feel fresh and new, incorporating the multiverse idea in a totally unique way that doesn't feel forced, contrived, or manipulative. The effects are groundbreaking, shattering worlds and serving as a wonderful feast for the eyes, along with the multiple unique costume designs that dazzle and amaze. The action sequences are succinct, beautifully choreographed, and magically shot. Honestly, I can't think of one negative thing about this epic.
I guess the only thing I can think of that'll give a negative light to the film is that it probably won't receive the awards recognition it deserves, as by the end of the year anything coming out in early April will probably be forgotten. In a perfect world, this movie would receive Oscar nominations for Best Picture, Best Actress, Best Director, Original Screenplay, Visual Effects, Costume Design, Cinematography and Film Editing. If the Academy totally ignores this masterpiece, it's to their detriment.
Offering more than just a multidimensional action epic, "Everything Everywhere All at Once" lives up to its title by incorporating everything all the genres excel at: from action to drama, to comedy and even horror, it holds up to the "everything" theme. Throughout the film you'll follow the wide range of emotions - from laughter to cheers, and even some tears - that you'll feel "everywhere," and of course, this happens..."all at once." This is one film you'll never forget, and ultimately elevates itself above a film and becomes transcendent.
The Score: A+
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