Everything Everywhere All At Once

Release: Friday, March 25, 2022

👀 Theater

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

Distributor: A24 

 

 

***/*****

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.

Gonna take this to another level.

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.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

Brigsby Bear

Release: Friday, July 28, 2017 (limited) 

→Theater

Written by: Kevin Costello; Kyle Mooney

Directed by: Dave McCary 

THIS REVIEW INCLUDES DETAILS THAT COULD BE CONSIDERED SPOILERS

Like last year’s gloriously weird Swiss Army Man, Brigsby Bear is a film guided by its own compass. Granted, not a penis, but rather the element of human empathy and compassion. It’s one of the year’s bona fide feel-good films, one that consistently offers surprises and subverts expectation at almost every turn. Given the times in which we are living, it’s an experience you really shouldn’t miss.

There are a few fleeting moments early in the film during which you feel the heat of a potentially mean-spirited drama beginning to rise. But that discomfort is soon assuaged by the stunning direction taken by Dave McCary, best described as the result of a choice between ostracizing his oddball protagonist and making him the hero of his own story. To that end, Brigsby Bear is a celebration of weirdness and individualism handled with maturity and grace — so much so, it begs the question why more movies can’t set this kind of example.

Brigsby Bear is an educational television show geared towards children, a Barney and Friends featuring a man dressed as a bear instead of a purple dinosaur. It’s a program to which James (Kyle Mooney) is completely dedicated. As a full-grown man he’s the show’s biggest fan. He’s . . . kinda the only one. Living in an underground bunker with his parents Tim (Mark Hamill) and April Mitchum (Jane Adams), the show is the only impression the apparent man-child has of the outside world. When the curtain finally falls on Brigsby, a confused James is challenged to find a way to keep it alive, as well as his sense of identity.

Brainwashing and child abduction aren’t subjects that strike you as comedic material, yet McCary embraces the opportunity to turn a negative into a major positive. Besides, the goal isn’t to seduce audiences into uncontrollable giggling fits. Think Napoleon Dynamite stuck in Lenny Abrahamson’s Room. James’ transition into the real world could have been difficult to endure. I suppose it is at the very least disturbing. Notes of melancholy occasionally bubble to the surface, particularly in scenes featuring his biological parents (played by Matt Walsh in what feels like a long time coming for one of my favorite character actors, with great support from Michaela Watkins).

But why waste time manufacturing more hatred when you can provide audiences this kind of uplift? The comedy is never left untainted by some degree of sadness, but it’s the choice to look beyond the pain that defines McCay’s directorial debut. What’s more surprising than the quality of the material — an original collaboration between Mooney and Kevin Costello, inspired by the former’s fascination with ’80s children’s programming (and VHS tapes) — are the names who have helped nurture its transition from page to screen. Brigsby Bear has the backing of a number of SNL alums, including its director and lead actor (who, by the way, is nothing short of revelatory), as well as the members of American comedy trio The Lonely Island — with Andy Samberg taking a small part as a patient at a psychiatric ward, a cameo that is going to elevate his street cred as an actor not inconsiderably.

I can’t pinpoint exactly when it occurred, but I knew that when it happened I was watching something special. Maybe it was that party scene, a sequence that turns almost every single stereotype associated with hard-partying millennials on their heads and boots them to the curb. What happens to James is never quite what you expect. Yet, morally, it’s not something you should be surprised by. With the events of the last few weeks alone, Brigsby Bear reminds us that the smallest acts of kindness, of supportiveness and cooperation should not go unappreciated or unnoticed. In that way, this feels more than just another Sundance darling familiarly outfitted with a funny name and quirky characters.

Recommendation: Richly emotionally satisfying, morally upstanding and winningly geeky (with hints of hipsterdom and a touch of creep to really spice things up). There are only moments where the film tips over into sentimentality but the trump card is the film’s earnestness. This is a tribute to the creative process insofar as it is an exploration of the people who help make their dreams realities. If you only see one movie a year, choose this one. 

Rated: PG-13

Running Time: 97 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

Swiss Army Man

'Swiss Army Man' movie poster

Release: Friday, June 24, 2016 (limited)

[Theater]

Written by: Dan Kwan; Daniel Sheinert

Directed by: Dan Kwan; Daniel Sheinert

There are some movies that just simply take your breath away. Ones where you’ll remember what theater you saw it in, where you were sitting, how many people were in there with you when you experienced THIS movie. Swiss Army Man is that kind of movie. It’s not even really a movie, it’s a religious experience . . .

. . . for those who appreciate a good arthouse picture.

I say that not with the slightest bit of remorse but rather with an air of caution. There’s a caveat to enjoying what writer-directors Dan Kwan and Daniel Sheinert (collectively known as ‘Daniels,’ the duo behind DJ Snake and Lil Jon’s 2013 hit music video ‘Turn Down For What’) have conjured here. I say that because the warning label should be clearly on display. When early word pegged their debut feature as the most surreal, offbeat adventure audiences are likely to ever experience it was hardly a hoax. Here is a narrative quite literally powered by flatulence and guided by erections. Absurdity. Madness. Despair. Love. Weird, sweet, de-sexified love.

Shifting the likes of Wes Anderson and Michel Gondry several feet closer to neutral on the Scale of Quirkiness, Swiss Army Man wastes no time as it opens with the striking image of a young man, Hank (Paul Dano), preparing to hang himself on a desolate island. Perched atop a small cooler with the fraying rope running to the top of the small cliff, he’s all but ready to commit to his decision when he suddenly spots a body (Daniel Radcliffe) washed up on shore. It looks lifeless but Hank’s curiosity is piqued when he hears it farting. A lot.

Approaching the body with caution he notices, unsure if he’s hallucinating, that the gastric releases are only intensifying. He’s not hallucinating; this thing is literally sputtering to life like an old car. That’s when Hank discovers he can actually use this to his advantage, converting the bloated corpse into a kind of water vessel that will allow him to get back to the mainland. But it turns out methane-powered human jet-ski is only one of the ‘corpse”s many functions. He can also produce clean drinking water, and his seemingly jointless limbs come in handy for slicing and dicing things. He can also be used as a rocket and a grappling gun, and his erection functions as a compass, too — how fun!

Dismissing Swiss Army Man as little more than crass comedy is going to be too easy but that’s the same sword wielded by those who view the indie/arthouse crowd as nothing but hipsters. Or those who presumed everyone who went to see the Harry Potter movies were all bookworms. Despite frequent trips into puerile territory, this movie politely and perhaps all too quietly requests to be taken a little more seriously than the average Adam Sandler fudge pile. (In reality I’d compare this more to Rob Reiner’s timeless buddy-adventure Stand By Me.) Underpinning all this crudeness lies an aching despair to return to normalcy, to reconnect with what most of us would consider civilized society, to feel alive again after inexplicable bouts of being marooned delete you from existence.

The journey to get back home will be fairly easy in physical, practical terms given the endless supply of miracles “Manny” (as he apparently self-identifies) seems to provide. Even though he propelled them both back to shore with his ass, they’re still a far cry from home, and there are more complicated ideologies and dynamics to contend with as well. It doesn’t take long for Manny to question whether Hank is just using him for his own personal gain or if he actually cares about him, and for us to ponder just whether the two are fated for a really awkward fairytale ending, or something . . . darker.

Swiss Army Man is a movie in pain. Dialogue is sparse but it often delivers hard blows from which we take some time to recover. Conversation is often confronting and unnatural, yet it’s this entrenchment in brutal honesty that saves us from pretense. Primitive discussions about why people masturbate eventually find their place in the greater narrative. While conversations may start trending intellectual a little too prematurely for those who view proceedings as a more cut-and-dry buddy adventure, those conversations open up endless avenues for discussions of our own.

Hank is worried he’ll never have the confidence to make an impression on the woman he sees every day on the bus. Manny doesn’t understand why he is so pathetic, but then again, why would he? After all he’s just an undead, farting, bloated, water-logged dummy who washed up on shore, probably on accident. He once had a life too, but he can’t remember it. Presumably it too was filled with glorious tales of how he once masturbated.

As the adventure evolves we’re pulled further into a strikingly intimate world by a pair of mesmerizing performances. Dano is again in top form here but Radcliffe truly soars, creating a character for the ages. It doesn’t exactly announce itself as such, but Manny represents an achievement in acting and the Brit deserves to be considered in the discussion of best performances of the year. Never mind the fact Radcliffe had a stunt dummy doing most of the heavy lifting. The psychological and emotional components far outweigh the physical, and it’s in the quieter moments — around a campfire, up in a tree, face-down near a pile of animal feces — where we see a soul (and the occasional butt-cheek) exposed.

Dano is reliably weird, though his greatness is more expected as the actor continues defining his niche as an off-kilter, often unlikable enigma plagued by social outcastism. For his peculiar acting sensibilities Hank is, in a word, perfect. Much like this gloriously, obstinately, unabashedly strange little film. The farting corpse movie you’ll be telling your children all about years down the road.

swiss-army-man-a24

Recommendation: An absolute must-see movie! Thematically Swiss Army Man isn’t a movie you haven’t seen before, but in execution, I feel pretty confident saying you won’t find a thing like it this or any other year. It’s simply a marvel and a joy to watch unfold, offering up one of the finest performances of the year in Daniel Radcliffe, the poor lad who just can’t ever get away from having to make some comment on his latest role’s relation to his days in Hogwarts. This oddity, however, just might do the trick. For now. 

Rated: R

Running Time: 95 mins.

Quoted: “If you don’t know Jurassic Park, you don’t know shit.” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.awardsdaily.com