Everything Everywhere All At Once

An aging Chinese immigrant is swept up in an insane adventure, where she alone can save the world by exploring other universes connecting with the lives she could have led.

Jamie Lee Curtis in a still from 'Everything Everywhere All At Once'

“Never ceases to be entertaining and lands emotionally when all is said and done. And that’s what matters the most!"

Everything Everywhere All at Once is stunning. It's a corky spectacle, but remains deeply vulnerable. The narrative follows Evelyn, whose business and personal relationships are failing. Plus, Evelyn is unexpectedly tasked with saving the entire multiverse as her personal life bursts. This story might sound familiar, but it develops into an unparalleled blend of comedy, action, adventure, and drama. Each role is compelling, the conflict is relatable, the arcs are earned, and the plot devices are utilized to their fullest. Furthermore, the entire cast displays a wide range of skills: switching characters, blending tones, and striking beats in a symphony of emotions.

Bonkers! There is no better way, or perhaps no other way, to describe what The Daniels have conjured with this fantasy action film. It tells a multiverse story to end all multiverse stories, as each world is created as a different decision is made, so for the most part each variation is the direct result of something palpable. Mostly; the film is just too bonkers to narrow itself down too much like that. It drinks from many sources, ranging from Wong Kar Wai to Pixar, and if it sounds a lot, the film nevertheless never ceases to be entertaining and lands emotionally when all is said and done. And that’s what matters the most.

Michelle Yeoh creates a fascinating protagonist: special because she is so pathetic, she accesses other versions of herself; the acting manages that balance beautifully, and of course, she has the added benefit of shining on the many fight sequences. Stephanie Hsu, as her somewhat estranged and sad daughter, gives a very emotional turn as well. Ke Huy Quan, the husband, also has an entertaining fight sequence and manages the multiple versions of his character nicely. James Hong is a solid presence as usual.

The film is, above all, exceedingly well-edited, by Paul Rogers. Yes, he is handed matching shots by the directing team and cinematographer Larkin Seiple (whose work is very, very fine), but he creates the insane pace and all the transitions between the universes. Shirley Kurata’s costume design, in particular for one character, is as zany and colorful as everything else in the film. Production designer Jason Kisvarday creates a number of different worlds each with its particular character.