Everything Everywhere All at Once Review
Evelyn’s life is in a moment of crisis. Her daughter, Joy (Stephanie Hsu), is frustrated with her Mother’s inability to accept her sexuality; while her husband, Waymond (Ke Huy Quan) too feels disconnected from his wife and to top it all off their laundromat business is soon to be audited. However, these problems are only a drop in the ocean when a rogue Waymond from another universe informs Evelyn that she is the only person who is able to save not just her own universe, but the entire multiverse.
One week after Doctor Strange and the Multiverse of Madness was released, the Daniel’s have released their independent multiversal odyssey that makes the “madness” in Doctor Strange seem tame in comparison. Indeed, this is the definitive multiverse of madness. What the Daniels’ have put together here is nothing short of incredible, utilising the rather predictable chosen-one story archetype, and producing something unabashedly unique, fun and grippingly emotional out of it. The Daniels have a lot on their plate here, delving into an array of whacky realities all the while exercising tight, in-the-pocket gags that ensure that the super-stylised nature of the film does not overshadow its surprisingly poignant tale of empathy and acceptance. The film also divulges into themes of existentialism and the importance of choice, all the while keeping its tongue and cheek tone. Balance is perhaps Everything Everywhere All at Once’s most impressive feat, managing to create sense out of apparent nonsense. Like most successful absurdist comedies, the Daniels’ have melded the ridiculous and the meaningful (with a particular scene involving hotdogs springing to mind). The Daniels’ ability to change our perception of the preposterous is a truly refreshing.
Michelle Yeoh is phenomenal as Evelyn, leading the film with a fabulous display of talent, juggling the emotional weight of Evelyn’s journey, as well spearheading the action and comedy sequences alike. Yeoh is a veteran when it comes to fight choreography and here, she manages to flaunt those skills yet again in delightful fashion. Yeoh gives it all and packs in one of the best performances so far this year. Ke Huy Quan (most well known for playing Short Round in Indiana Jones and the Temple of Doom) gives his first on screen performance in 20 years and it is as if he never stopped. Quan manages to be as mercurial as the Daniels’ direction, swaying from adorable and harmless, to decisive and cool, while also boasting some of the most heart-warming moments of the film. The rest of cast from Stephanie Hsu, James Hong and Jaimee Lee Curtis especially, all fully commit to the absurdity, bringing their own zany flare to the whacky wonderment.
On a technical level, Everything Everywhere All at Once is near perfect. The editing is sharp and snappy (akin to Edgar Wright), whipping us between worlds that feels quick, yet clear. The fight scenes are also handled with real technical prowess, rich with energy, creativity and clarity. On a 25-million-dollar budget the Daniels and crew manage to put most big blockbusters to shame, looking and sounding even better than most 200-million-dollar features.
Everything Everywhere All at Once kicks off the summer movie season in near-perfect fashion. The Daniels have created a feature that exudes cinema. From spectacle, action, comedy and tender emotion, Everything Everywhere All at Once leaves you almost overwhelmed by the time the credits roll. It swells with a near overload of the senses, but one that never feels messy, always keeping focus on the importance of story, character and its multitude of themes. While it does feel perhaps ten minutes too long, this is a minor gripe amidst one of the most explosively inventive and enjoyable films so far this year. Everything Everywhere All at Once is truly something to behold.
Score: 9/10