Release: Friday, March 25, 2022
Written by: Dan Kwan; Daniel Scheinert
Directed by: Dan Kwan; Daniel Scheinert
Starring: Michelle Yeoh; Ke Huy Quan; Stephanie Hsu; Jamie Lee Curtis; James Hong; Jenny Slate
No one makes a movie like Daniel Kwan and Daniel Scheinert, nor does anyone dare try. Relatively unknown as the guys behind viral music videos such as DJ Snake’s Turn Down For What, the writer/directors etched their shared first-name moniker into audiences’ minds forever with their supremely strange feature film debut Swiss Army Man in 2016. Now they return with a proposition that makes their first effort seem unadventurous by comparison.
With a fatter budget and increased confidence Daniels take massive swings for the fences with their own indie flavored multiverse movie. Everything Everywhere All At Once is undeniably the product of two of the most inventive and unapologetically odd filmmakers running around Hollywood at the moment. It is also a rare casualty of production company A24’s artist-friendly approach. Unfettered weirdness mutates from exhilarating to eventually exhausting over the course of two long and chaotic hours.
In the off-kilter and unpredictable world of Daniels nothing is certain except death, taxes and this pesky thing called Jobu Tupaki, an anarchic entity intent on destroying literally everything in existence. The story centers on a Chinese-American family whose matriarch is unwittingly pulled into a confrontation with this threat. In acquiring all kinds of abilities and insight jumping in and out of the various lives she might have lived she becomes the only one who can stop it. However, her ability to succeed may well hinge on her willingness to make amends with those closest to her.
The simple yet heavy question “what if my life went differently” is at the heart of this highly cerebral and often ridiculous journey. When we first meet her, Evelyn Wang (a dynamic Michelle Yeoh) is not exactly living the high life. Struggling to make ends meet with her laundromat, she is preparing for an audit by the IRS (represented by an amusingly frumpy Jamie Lee Curtis) while nervously awaiting the arrival of her intimidating father Gong Gong (James Hong). All is not well on the home front either as husband Waymond (Ke Huy Quan), at wit’s end trying to make their life happy, trails her around with divorce papers. Meanwhile daughter Joy (Stephanie Hsu) wants to introduce Gong Gong to her girlfriend Becky (Tallie Medel) but Evelyn doesn’t think that is a good idea.
There is enough tension and acrimony in the early going to serve a compelling family drama on network television. But this is Daniels, not This is Us, and so the film with all of its fantastical elements takes a rather circuitous route in elucidating what really matters. When we arrive at the IRS building the story takes on an entirely new life — The Matrix meets Boots Riley — and it’s as though Daniels have bailed on their early suggestion of more intimate drama. In an elevator, a transformation occurs and suddenly Evelyn’s pushover hubby becomes a kung fu master brimming with charisma. Like Morpheus, this more assertive Waymond from the “alpha-verse” has searched far and wide to find the right one for the job.
As it was with Swiss Army Man, the established rules and mechanisms that enable the action to tick forward can be challenging to accept. Here you’ll receive a crash-course in “verse-jumping,” learn what “mind-splintering” is (and perhaps, like me, experience it yourself) and encounter bagel-worshipping cults and people with hot dogs for fingers. Absurdism is part of the filmmakers’ appeal, but Everything Everywhere takes liberties with your goodwill — a moment in which a man flings himself across a room for the specific purpose of impaling himself on a sex toy seems like an easy cut to make.
Fortunately the performances are really good, particularly the dynamic between Yeoh and Quan. Together they imbue the narrative with just enough humanity to make the insanity relatable. Yeoh is a force to be reckoned with as she multitasks as both hero and an everywoman. Semi-retired actor Ke Huy Quan makes a triumphant return to the screen, falling toward the center of emotional devastation as a man who can’t imagine any version of his own life without his wife. As the daughter, Hsu fits in nicely as well, creating a character full of believable torment — a young woman caught between cultures who never seems to measure up to expectations.
Everything Everywhere toes the line between artistic freedom and pretentiousness. For all that this swirling mass of energy and ideas does differently and at times movingly, the cumulative effect is not entirely satisfying, the payoff frustratingly minimal for all the energy required to keep pace.
Moral of the Story: Kung Fu Bagel. Enter the Bagel. Big Bagel in Little China. Whichever way you want to slice it, this crazy visual feast is unlike anything you’ll see this year. Personally, I don’t think the film’s messaging is particularly original or profound, but there’s certainly stuff here to strike an emotional chord. And I also do appreciate how the film’s conflict revolves around imperfect people vs chaos, rather than pure good vs pure evil. The villain(y) is refreshingly nuanced.
Rated: R (for rocks!)
Running Time: 139 mins.
Quoted: “So, even though you have broken my heart yet again, I wanted to say, in another life, I would have really liked just doing laundry and taxes with you.”
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Photo credits: http://www.impawards.com; http://www.imdb.com
Great review chock full of interesting tidbits.
You’re right. The message is not profound. “Nothing matters?” I don’t even agree with it. And yet the film is so zany, so creative, that it’s hard to resist.
P.S. Who could have predicted this little indie would ultimately earn more than $66 million at the box office (surpassing Uncut Gems) to become A24’s biggest hit?
Thanks a lot Mark. In retrospect it’s not that surprising to me it’s blown up to become a major title for A24. Look at what this movie does to you!! It’s insane!
I’m 50/50 on movies that are like this; so often I want something crazy and different (which is why I’m really starting to shy away from even attending blockbuster movies now, let alone review them — I’ll never find something interesting to say about them! haha) but here’s a case where I think a little less of Everything would have been good. I found myself getting really ancy around the time they introduced the second title card.
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I want to see this and you can call me Gong Gong any time you want to.
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This one is a wild and I mean wild ride. I think you’ll enjoy it a lot Sir Isaaccius CXVIII
I’ve read a few reviews and thought I might enjoy it, but hot dog fingers put me right off!
Yeah I didn’t connect with it as deeply as I had hoped I would. I actually loved Swiss Army Man. This was just so busy and hyper at almost every turn I reached a point where I was frequently checking the time.
It’s a technical marvel though. I completely neglected to mention how the VFX team is comprised of 9 (!) people. And I think none of them had formal training. With that in mind, the film becomes even more impressive from a technical standpoint