Director(s)	Dan Kwan Daniel Scheinert
Principal Cast	Michelle Yeoh as Evelyn Ke Huy Quan as Waymond Stephanie Hsu as Joy James Hong as Gong Gong Jamie Lee Curtis as Deirdre
Release Date	2022
Language(s)	English Mandarin Cantonese
Running Time	139 minutes
Report Card	Click to go to Review TLDR/Summary

NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.

The film opens on a mirror reflecting Evelyn Wang (Michelle Yeoh), her husband Waymond (Ke Huy Quan), and their daughter Joy (Stephanie Hsu) singing a song in joyous aplomb. However, a jarring match cut reveals an empty reflection in the mirror; the family is no longer singing and the warmth is missing. The camera pushes into the mirror to the Wang family’s present-day day situation.

Evelyn sits stressed at a table sorting through a host of receipts, bills, and other crumpled paraphernalia; the Wang family is being audited and their laundromat is now under the threat of being repossessed. As she deals with the stresses of stabilizing the family’s financial future, Waymond attempts to articulate his own feelings. But he’s constantly interrupted by Evelyn at each juncture. She’s obsessed with ensuring that Chinese New Year celebrations go well this year because her judgmental father Gong Gong (James Hong) is present and she doesn’t have the bandwidth to process any seemingly auxiliary requests coming her way. Unfortunately for her, Waymond’s concerns are more severe than she thinks with his mind headed towards divorce due to the constant neglect.

When Evelyn goes down to deal with problems at the laundromat on top of everything else, Joy comes in and brings up the issue of introducing her girlfriend, Becky (Tallie Medel), to Gong Gong. But Evelyn refuses to directly answer at first, fritting around the store in a mad dash to finish off all her tasks. Far from the opening’s joyous singing, there’s a cacophony of complaints, expectations, and misgivings at the Wang residence.

But on top of the familial discord, an inexplicable situation arises with Waymond. The camera pushes in on the laundromat’s security-dam dashboard in the background and brings to attention Waymond undergoing a possession-like event. His body jitters and then he does a flip over a table; clearly this is a different person.

Meanwhile, Evelyn finally shoots Joy’s request down and tries to defend her decision by saying that Gong-Gong is from a different time, so such news would be too much for him to handle. Consequently, when the family goes down to the IRS office, their main translator and point-of-contact in their daughter is not there with them; the family’s internal lack of communication bleeds over into their external world, making it harder for them resolve the seemingly much larger problems looming over their lives.

Evelyn, Waymond, and Gong-Gong make their way to the IRS agent responsible for their case, but on their way up on the elevator, Waymond’s body jerks as it did previously and he acts in a completely different manner, going so far as to block the elevator camera with an umbrella. He tells Evelyn that he is another Waymond, that the world is in danger, and gives her instructions to follow at a later time. Initially, she chooses to ignore his instructions but as her tax case agent, Deirdre (Jamie Lee Curtis), gets more intense and makes the Wang’s financial situation seem fraught with imminent doom, Evelyn decides that following the instructions might at least provide a reprieve from the situation she finds herself in.

Suddenly, a dolly-zoom like effect is employed where Evelyn finds herself thrust back into a moving frame, creating a kinetic dissonance. Her body snaps back against the wall and the frame fractures like a broken mirror, reflecting multiple Evelyn’s, each with their own perspective, each in their own location; mirrors, which had so far just been part of the set reflecting the Wang family now become enmeshed within the frame proper, tying form to content. One of the Evelyn’s take control of the frame and meets the Waymond from the elevator who reveals that he’s another universe’s Waymond that was temporarily inhabiting (our) Evelyn’s universe’s Waymond, and that he’s been sent to find an Evelyn capable of fighting a threat bent on destroying the multiverse. Thus, a simple trip to settle taxes turns into a Matrix-styled battle for multiversal survival where Evelyn must, in her role as chosen-one, bring balance by taking down a supreme evil set on absolute destruction.

However, directors Dan Kwan and Daniel Scheinert (the Daniels) use the idea of multiple universes to explore multiple genres, tasking each entanglement with a universe with its own genre settings and trappings. Consequently, as characters traverse their own and current universal perspectives, they’re forced into distinctive genre entanglements, or more accurately genre miscommunications. Early on after initially being given the run-down of the situation, Evelyn finds herself face-to-face with a target she saw in another context as being hostile and acts out like an action hero in self-defense; but the target is far from hostile and is their “normal” self, so the misfire between their drama and Evelyn’s action lends to a genuine comedy of errors.

This is how the film is able to so effortlessly traverse different moods and emotions at the drop of a hat; genre becomes ever-fluid, crystallizing into serious or comedic whenever the narrative calls for it. The most disparate situations flow into one another seamlessly without sacrificing or compromising on narrative momentum . At one point the film becomes an action-comedy Jackie Chan styled and at another adopts the trademarks of one of Wong Kar-wai’s romances with shutter-speed experimentation that isolates the relevant characters and neither moment is out of lockstep within itself or within the larger story at play. Even though each of these tales is done within the confines of its respective genre, going so far as to have the actors modulate their performances, sometimes in minute fashion, to be hyper-authentic to the feeling of the homage(s), their contextual narratives are essentially just recapitulations of the main, overarching narrative about finding meaning in an existence that seems to constantly spit at one’s face.

By couching the Wang family’s respective struggles within distinct genres, the Daniels are able to break down how the problems the family finds themselves are far from disparate and in actuality stem from the same underlying conditions. Even as the film zips from universe to universe with a staggering number of match-cuts, dolly zoom-like disorientation effects, and shifting aspect ratios, the central story never gets lost because the script is careful to keep the emotional underpinnings of what the characters are going through consistent even as the contexts they find themselves inhabiting vary. In this sense, the film warrants a comparison with Terrence Malick’s masterpiece The Tree of Life, in its ability to couch a simple, individual story of a family within a grander universal context such as to suggest transcendental truths while respecting the different ways they may manifest within different, subjective lives.

However, what makes Everything Everywhere All At Once feel unique in spite of its obvious homage and reference and grander aspirations and achievements, is its wholehearted embrace of obscene, vulgar jokes as a way of both retaining the Daniels flair for humor in the vein of their previous film Swiss Army Man but more importantly as a way of hammering home the point. Overcoming the constitutive void of nihilism that permeates existence and butt-plug humor go hand-in-hand in the Daniels’ world of infinite possibilities as they try and demonstrate that the difference between two worlds is nothing more than a question of perspective.

REPORT CARD

TLDR	Everything Everywhere All At Once is somehow a quaint slice-of-life story of a family coming to terms with their personal and familial struggles and a multi-universal epic about saving the universe from a catastrophic, all-encompassing nihilism that obliterates everything it comes into contact with that feels wholly consistent with itself, being equal parts riotously hilarious, thoughtfully introspective, and emotionally resonant.
Rating	10/10
Grade	S+

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