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Everything Everywhere All at Once review: “A heartfelt carnival of chaos”ByKevin Harleypublished 11 May 22Review

Between conceit and surrealism, Daniel Kwan and Daniel Scheinert’s Swiss Army Man (2016) tells a cunning and moving existential story of life, death and friendship. For the second trick, Daniels does not control the extreme.

More rebound than sophomore slump, Everything… thrives on the push-pull between over-excess and grounding humanity. The result is head trips, riots, and a bit unpredictable. But, like Daniel Radcliffe in Switzerland, Daniels’ trump card is the exquisite fixation Reed offers as ordinary people juggling the multiverse of responsibility before the actual multiverse even arrives.

Michelle Yeoh is Evelyn, Chinese-American, wrestling with laundry, husband Waymond (Ke Huy Quan), daughter Joy (Stephanie Hsu) and judge father (James Hong), party arrangements and tax issues. Her world is questioned by the IRS and falls apart. Her alternate universe Waymond recruits her into her space leap war to stop her enigmatic grandfather, Tupaki, from acting that threatens the stability of her multiverse.

Daniel mixes tones, genres, styles, stocks, aspect ratios, character types, and more, so everything is possible here. When kung fu disaster mixes ratatouille riffs, big ideas and quiet japes, deep thoughts and Chekhov’s buttocks, family drama and dildo fights, students will plate like a big-eyed Waymond.

Connecting spiral motifs (washing machine, mirror, bagel), the film is at first a film of an ever-growing circle of excessive spurts of desire. Somewhere between a hot dog hand and a sentient rock, everything… but in the wrong direction. If homage to countless films and outspoken gags could mean anything, it’s just a short filming cycle that means nothing.

But Daniel is too smart to ignore the value of the cast and characters. The appearance of Quan and IRS Comptroller Jamie Lee Curtis is a gift for film lovers. Yeoh, on the other hand, evokes immense charismatic scope with Eve’s multi-cosmic variant, and perfectly plays the roles of superstar, nervous mom, and more, before the finale embraces emotional goofy reflections on family, achievement, and human ties. It does more than that. Daniel remembers respecting his stake in Prime ‘Verse. Unlike this bagel, there is no hole in this big, beating heart of this unruly delight.


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Everything Everywhere All at Once review: “A heartfelt carnival of chaos”

By

Kevin Harley

published 11 May 22

Review

Between flatulence and flurries of surrealism, Daniel Kwan and Daniel Scheinert’s Swiss Army Man (2016) told a slyly affecting, existential tale of life, death and friendship. For their second trick, the Daniels aren’t reining in the extremes.
More sophomore surge than slump, Everything… thrives in the push-pull between off-the-charts excess and grounding humanity. The result is a head trip, a riot – and a bit erratic. But, as with Swiss’ Daniel Radcliffe turn, the Daniels’ trump card is the exquisite anchorage their leads provide as everyday people juggling multiverses of responsibility, even before the actual multiverse arrives.
Michelle Yeoh is Evelyn, a Chinese American woman struggling with her launderette, husband Waymond (Ke Huy Quan), daughter Joy (Stephanie Hsu), judge-y father (James Hong), party arrangements and taxes. Her world splinters at an IRS interrogation when an alt-universe Waymond recruits her in a ’verse-jumping war to stop enigmatic being Jobu Tupaki, whose actions threaten the multiverse’s stability.
From here, anything goes as the Daniels mash up tones, genres, styles, stocks, aspect ratios, character types and beyond. As kung-fu cataclysms mix with Ratatouille riffs, big ideas with low japes, deep thoughts with Chekhov’s anal dilators, family drama with dildo fights, your pupils will saucer like the googly eyes Waymond loves so much.
Running with the binding spiral motifs (washing machines, mirrors, bagels), it’s a film of ever-increasing circles, whose pleasures erupt initially in the lack of measure. Somewhere between the hot-dog hands and sentient rocks, though, Everything… does spiral off-track. If the manifold movie homages and loose-firing gags can mean everything or anything, they’re only a short spin-cycle from meaning nothing.
Yet the Daniels are too wise to neglect the value of cast and character. Quan and IRS inspector Jamie Lee Curtis’ performances are gifts from cinephile directors. Yeoh, meanwhile, summons vast reserves of charismatic range as Eve’s multiverse variants, nailing the roles of superstar, flustered mum and more before the finale’s emotional sucker-punch reflections on family, fulfilment and human connection. The Daniels remember to honour the prime ’verse’s stakes. Unlike that bagel, there’s no hole in this unruly delight’s big, beating heart.

#review #heartfelt #carnival #chaos #ByKevin #Harley #published #Review

Everything Everywhere All at Once review: “A heartfelt carnival of chaos”

By

Kevin Harley

published 11 May 22

Review

Between flatulence and flurries of surrealism, Daniel Kwan and Daniel Scheinert’s Swiss Army Man (2016) told a slyly affecting, existential tale of life, death and friendship. For their second trick, the Daniels aren’t reining in the extremes.
More sophomore surge than slump, Everything… thrives in the push-pull between off-the-charts excess and grounding humanity. The result is a head trip, a riot – and a bit erratic. But, as with Swiss’ Daniel Radcliffe turn, the Daniels’ trump card is the exquisite anchorage their leads provide as everyday people juggling multiverses of responsibility, even before the actual multiverse arrives.
Michelle Yeoh is Evelyn, a Chinese American woman struggling with her launderette, husband Waymond (Ke Huy Quan), daughter Joy (Stephanie Hsu), judge-y father (James Hong), party arrangements and taxes. Her world splinters at an IRS interrogation when an alt-universe Waymond recruits her in a ’verse-jumping war to stop enigmatic being Jobu Tupaki, whose actions threaten the multiverse’s stability.
From here, anything goes as the Daniels mash up tones, genres, styles, stocks, aspect ratios, character types and beyond. As kung-fu cataclysms mix with Ratatouille riffs, big ideas with low japes, deep thoughts with Chekhov’s anal dilators, family drama with dildo fights, your pupils will saucer like the googly eyes Waymond loves so much.
Running with the binding spiral motifs (washing machines, mirrors, bagels), it’s a film of ever-increasing circles, whose pleasures erupt initially in the lack of measure. Somewhere between the hot-dog hands and sentient rocks, though, Everything… does spiral off-track. If the manifold movie homages and loose-firing gags can mean everything or anything, they’re only a short spin-cycle from meaning nothing.
Yet the Daniels are too wise to neglect the value of cast and character. Quan and IRS inspector Jamie Lee Curtis’ performances are gifts from cinephile directors. Yeoh, meanwhile, summons vast reserves of charismatic range as Eve’s multiverse variants, nailing the roles of superstar, flustered mum and more before the finale’s emotional sucker-punch reflections on family, fulfilment and human connection. The Daniels remember to honour the prime ’verse’s stakes. Unlike that bagel, there’s no hole in this unruly delight’s big, beating heart.

#review #heartfelt #carnival #chaos #ByKevin #Harley #published #Review


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