"Everything Everywhere All at Once"
A masterful collision of chaos and kindness.
[First Published: April 6, 2022]
Happy Wednesday. Let it be restated for the record that my appreciation for the science-fiction genre not only knows no bounds but also continues to innovate and excite me. While the same cannot be said for the studio responsible for today’s film. One of the many redeeming qualities of the genre is its limitless range of artistic freedoms. Co-directors Dan Kwan and Daniel Scheinert (henceforth known as “Daniels”) utilize all aspects old and new to the genre in Everything Everywhere All at Once. Allow me to simply tell you what the film is about so you too can appreciate the unique and indispensable importance of which I speak. It is about a woman attempting to do her taxes before being introduced to the idea that she might be able to save humanity by accessing the multiverse. Anything to avoid those taxes, right? Daniels previously wrote and directed 2016’s Swiss Army Man, which stars Paul Dano and Daniel Radcliffe in a unique take on the genre. However, the film received rave reviews upon limited release last week from audiences and critics alike.
At last check, it is sitting on an 8.9/10 audience score and an 81/100 critical rating–numbers comparable to films such as The Lord of the Rings: The Return of the King and Pulp Fiction. Do not get your panties into a wad just yet, as the number of reviews is far less than the other two. However, it is still an indication that a film few would have pegged as an instant classic a few months ago is making serious waves to start the new cinematic year.
Everything Everywhere All at Once packs an insane amount of energy and density into every level of its runtime, which is even more impressive when faced with the idea of multiverse setting and explaining interestingly and understandably. While Marvel maintains a near-monopoly on the concept, it is refreshing to see a different studio source a fresh perspective on the idea. Daniels manage to (nearly) flawlessly juggle these high-level concepts one moment and then make you cry and be emotionally connected to the film’s character the very next. Also, it takes them just 132 minutes, rather than the three-hour mark many analogous films make audiences endure to explain their ideas. Amazingly, most reviewers seem to follow the emotional throughline. There were certainly points of confusion during my watch. Still, the majority of the viewing was spent on the same wavelength as the movie intended for the audience to experience the multiverse adventure of Evelyn Wang. The movie fires on all cylinders, providing moments of intricate dialogue, physical comedy, intense action, and endless possibilities for further speculation once the film ends.
There are detailed sequences of martial arts followed by consequential discussions of alternate realities. Movies such as The Matrix, Crouching Tiger, Hidden Dragon, and Looper come to mind when watching the film. Like those three films, Everything Everywhere All at Once has a unique style. The personalized aspect of Daniels is ever-present, whether in cinematography, set design, acting choices, and the unfolding of the plot.
While it will surprise no that I highly recommend seeing this in theaters, the way it is produced and shot lends itself perfectly to an in-person viewing. Being in a place where you are more dedicated to the film will help because of the aforementioned depth of Everything Everywhere All at Once. It is also imaginative–every second is an opportunity for Daniels to reach into their creative tool kit and reveal something random, silly, or fun. I love how unapologetic they are about the humor or raunchiness some might consider lowbrow, even though it is well done. Specific gags may seem unnecessary or even misplaced in a movie seeking to speak profoundly about certain aspects of existentialism, sociology, and unanswered scientific theories governing the very universe we inhabit. The silliness enhances the film’s feeling. The various scenes, like human emotions, have a constant element of randomness and surprise depending not only on the person but also situation and setting.
Like any good story, Everything Everywhere All at Once supplies enough foundational knowledge to the viewer to spark interest and curiosity for what will come but ultimately keeps the viewer guessing with Evelyn at each development in our universe and even the next. The film is fun and fascinating, with a much-needed breath of fresh comedic bits and intellectual demands from writer to viewer. The level at which the film seeks to captivate thematically in conjunction with moments of comedic gags and intense action sequences is a testament to the writing and direction. The duo at the helm takes you through a strange yet complex world and makes you understand it because they never forget about the core story of the mother and daughter. They exist as ordinary people living in a laundromat just trying to get along in life. For all the film’s grandeur and aspirations, all the genre rides and trips they take you on, Everything Everywhere All at Once ultimately comes back to its core story–familial connections and a sense of optimism at your respective outlooks, no matter how confusing, disheartening, or even isolating they may seem.