Everything Everywhere All at Once (2022)

Director: Daniel Kwan, Daniel Scheinert

Starring: Michelle Yeoh, Ke Huy Quan, James Hong, Jamie Lee Curtis

Primary genre: Absurdist

Secondary genre: Science fiction

Third genre: Comedy

Fourth genre: Drama

Nominated for: Best picture, director, actress, supporting actress, supporting actor, original score, original screenplay, original song, costume design, film editing

Won: Best picture, actress, supporting actress, supporting actor, director, screenplay, editing

“Everything Everywhere All at Once” was probably conceived under the consumption of copious amounts of LSD and alcohol. Placing a heavy emphasis of scenes that do not follow the stereotypical, traditional or expected framing for let’s say, a fight sequence, it has enough bonkers material that will either alienate individuals with its overwhelming absurdism or embraced by those who prefer a Spike Jonze fever dream.

At its heart is Michelle Yeoh who plays Evelyn, a Chinese American plagued simultaneously by a dominant and conservative father, a sweet but incapable husband, a demanding daughter and a failing business. Without revealing too much, a particular catalyst sets this whole gonzo story into motion unfolding numerous surrealistic events over the course of a whooping two and a half hours.

The idea of parallel universes has always been a highly interesting one but it still has not received a proper cinematic treatment. Such a concept allows for flexible visual and intellectual flair and despite its limited budget, the film (mostly) succeeds at presenting original content (you will never see hot dogs the same way after this). Yet, amidst all its lunacy, it finds the time to pay extensive and poignant homages to Yeoh’s larger than life career, the crazy mashed up kung-fu-with-looney-tunes antics of Stephen Chow’s (e.g., “Kung Fu Hustle” (2004), “Journey to the West” (2013)) and the eclectic taste of Wong Kar Wai by beautifully framing two could-have-been lovers individuals. Despite its occasional stops due to its never-ending exposition, it does not feel repetitive with sequences that are destined to provide the film a cult status for the years to come.

It is without a doubt a cinematic bonanza supported by a standout and thoughtful (when it is needed) performance in the role of a lifetime by the mighty Yeoh who unfortunately did not get the recognition she deserved in the West as she did in the East (although she is part of movie history with her roles in “Tomorrow Never Dies” (1997), “Crouching Tiger, Hidden Dragon (2000), “Crazy Rich Asians“ (2018)). Utilizing the film’s script as a vast sandbox that most actors would only dream off to flex their skills, it allows Yeoh to transcend the nonsense material by slipping comfortably into several comedic roles - from Teppanyaki Chef and kung fu master to classy movie star - showcasing exquisite versatility.

However, its myriad of references, see-if-they-stick gags at every second and wacky performances might become tiring after a while considering that in its core, the film starts to lean towards heavy (and frankly) unnecessary melodrama that has become so prevalent lately. One node that does not fit well within the overall arc is Evelyn’s daughter, Joy who unfortunately is written as a stereotypical LGBTQI+ (no moody teenagers who insist on introducing their date to a conservative grandfather for their first time come to mind) and teenage portrayal that requires (or demands) the acceptance of a 50-year-old generational gap complete with textbook cliché behavior (e.g., the wear-my-hoodie-when-I-am-mad-and-give-yu-the-silent-treatment-act).

And this is where “Everything Everywhere All at Once” could cause a split: either you will be swept under your feet by its looking inwards and forward for contentment message, accepting the hardness of (archetypical) family bonds or you will dismiss this superficial take on life’s journey and choices as nothing more than an excuse to showcase surrealism. For some, its depiction of human relationships and courage to embrace one’s crossroads decisions could hit all the right tones, for others the overindulgence on outrageous gags and half-baked ideas is a real threat for meaningful cinema.

“Everything Everywhere All at Once” is a small scaled but ambitious flick that strongly emphasizes an original story as opposed to build a plot around identity politics (although it touches them). With a fantastic performance holding everything together, an excellent supporting cast, sufficient action and wacky visuals, it is one of these rare cases that will spark conversation for sure.

Hilarious and original but occasionally preachy

+Stellar performance by Michelle Yeoh

+Excellent supporting cast…

+…particularly Jamie Lee Curtis

+Hilarious comedy bits

+Cool fights

+Bonkers and original concept supported by equally wacky visuals

-Too long

-Preachy undertones

-Tendency to melodrama

-Stereotypical daughter portrayal