Tuesday 24 May 2022

Everything Everywhere All At Once (2022)

I hope you have already heard from other people raving about just how good Everything Everywhere All At Once is. That will make up for my own poor attempt to convince you to see it. Because it is an easier film to experience than to discuss, but it is a strong contender for film of the year (and, arguably, a strong contender already for film of the decade). It isn’t for the faint of heart though, and I am sure that many casual film fans will be put off by the unrelenting craziness of it all.

Michelle Yeoh stars as Evelyn Wang, a woman who is at a low ebb. She runs a launderette with her husband (Waymond, played by Ke Huy Quan), and both a full tax audit and possible divorce looms on her horizon. She also struggles to find a strong connection with her daughter (Joy, played by Stephanie Hsu), and uses her critical father (James Hong) as an excuse to avoid non-judgemental acceptance of Joy’s lesbianism. Evelyn doesn’t mean to be hurtful, she is just projecting from her own life experience. And here’s where things get complicated. It turns out that there are an infinite number of multiverses, and Evelyn is suddenly asked to harness the power of various incarnations of herself in order to protect them. This is done by acting in the most illogical way, allowing the “jump” to the access point, and absorbing the skillset from the person in the alternative timeline. Why is Evelyn required to do this? Someone is out to destroy every timeline, and Evelyn may be the only one able to stop them.

I know, trust me, that the paragraph above is a bit dense and odd. It’s also a decent enough summary of the opening 15-20 minutes of this movie. All you need to know is delivered in one main info-dump, spoken by Ke Huy Quan, and other details are noted as everything becomes more action-packed.

Written and directed by Daniels (Daniel Kwan and Daniel Scheinert), this is a tour de force of consistently inventive and astonishing film-making. The editing alone is an absolute masterclass (I don’t often namecheck editors, just because I focus on the “front of house team” most of the time, but Paul Rogers definitely warrants a mention here), but the script and direction lead to an end product so brilliant that it will be hard for Daniels to top this. In fact, it could be argued that it will be hard for anyone to top this. 

They help themselves greatly with the casting. Yeoh is someone who film fans should have been in love with for years already. If that isn’t the case, change it now. She has always been a massive talent and this gives her the role(s) of her life. Showing so much range, in terms of the characters portrayed and her ability to move from comedy to action to heartfelt emotional moments, Yeoh is one important chamber of the heart of the movie. Quan is another important chamber, and I cannot think of a recent movie moment that has made me happier than the sequence in which he beats up some security guards with a small fanny pack. He makes for a sad, tired, figure in many other scenes, but he also provides a reserve of strength that others use, and it is all conveyed with a quiet, unassuming, performance that is absolutely pitch perfect. Hsu is yet another chamber, and she gets to move between massive highs and massive lows with her character. She is dreadfully unhappy in a way that feels like every “lost” teen ever, but also symbolises unfulfilled potential and dashed hopes just as much as anyone else onscreen. The fourth chamber, ensuring the strong heartbeat that powers the whole film, is made up of both Hong and Jamie Lee Curtis, the former playing the formidable tax auditor. Both are painted as villains at different times, both are much more than that, and both do their bit to ensure that there is not one weak link in the lead acting chain. In an ideal world this would lead to every award everywhere all at once. Maybe in another universe.

There are great action scenes, great moments of absurd humour (highlights include googly eyes, a riff on Ratatouille, and a universe in which people have somehow evolved to have hotdogs for fingers), and simply great moments that will have you grinning from ear to ear. Did I keep track of the timelines and the science? Not quite. Do I think it all fits perfectly together? Not quite. But it is, like a number of other movies, something so magnificent that one or two minor quibbles don’t stop it from feeling perfect. And it is worth noting that, aside from the fighting and silliness, pushing the brain-melting science out of the way, this is a film about love and support. It is important that you have people who give you that love and support, and it is equally important that you pass that same love and support along to those you care about.

Although I know many people who would absolutely hate this, I consider it unmissable. And those who cannot enjoy the full experience it delivers are, quite frankly, missing out.

10/10

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