In their first joint feature since Swiss Army Man, Daniel Kwan and Daniel Scheinert — collectively DANIELS — are back with the sci-fi-action-comedy Everything Everywhere All at Once, which explores a non-superhero multiverse, generational trauma and familial relationships. DANIELS' return is all at once hilarious, thrilling and heartfelt, and everything we've come to expect from the phenomenal Michelle Yeoh.
Evelyn Wang (Yeoh) and her husband Waymond (Ke Huy Quan) live in a small apartment above the laundromat they own and run, along with their teenage daughter Joy (a terrific Stephanie Hsu). In the middle of an audit, Evelyn is being pulled in many directions: getting the paperwork required by the IRS together, managing a strained relationship with Joy, caring for her elderly father (played by Hollywood veteran James Hong) and running the laundromat with Waymond. Things come to a head when Evelyn and Waymond meet with their IRS auditor (a delightful Jamie Lee Curtis).
Through a seemingly random sequence of events, Evelyn learns that the entire universe is at risk of total destruction by a great evil spreading throughout the different timelines and only she can stop it. Aided by Waymond-of-another-universe, Evelyn discovers the multiverse and learns she can "verse jump" and upload the skills of other Evelyns to our Evelyn — including movie star Evelyn, teppanyaki chef Evelyn and kung fu practitioner Evelyn, among others.
Due to the multiverse plot, the actors are given the challenge of portraying multiple versions of their characters and multiple dynamics between them. Each member of the cast rises to the occasion and incorporates subtle nuances while sinking into the different worlds effortlessly. Curtis, Hsu and Hong all turn in formidable performances, but Yeoh and Quan are the film's stars. Yeoh brings her trademark grace, elegance, and bad-assery to all the Evelyns, particularly shining as our Evelyn, who struggles with her unmet potential. As for Quan, his performance doesn't miss a beat — he plays the charming, sometimes bumbling dad with an ease and comfort that will be particularly gratifying for those of us who fondly remember Data and Short Round from The Goonies and Indiana Jones and the Temple of Doom, respectively. Though he's been missing on our screens for decades plus, it feels like he never left.
DANIELS give their cast a lot to work with. Each parallel universe is unique and filled with lots of intriguing elements to create full a rich world, even if only seen for a few minutes. What will certainly be a favourite among Asian film fans (and my personal favourite) is DANIELS' homage to Hong Kong director Wong Kar-Wai. Quan and Yeoh are mesmerizing in a world painted with the aesthetic of In the Mood for Love, where Quan exudes a particular dashing charm different from other Waymonds.
The film also includes some fantastic action sequences that recall Hong Kong films of the '80s and '90s while still feeling very modern. And the humour of the film is decidedly DANIELS' — quirky, juvenile and straight-up odd at times (all in the best way possible). But for all the action and humour, at the heart of Everything Everywhere All at Once is a touching film about discontentment with life and a parent's love for their child. DANIELS balance all these elements extremely well with great artistry.
Everything Everywhere All at Once is a movie that attacks the senses. The script is tight, the performances are all strong, and the filmmaking is fantastic. Every aspect of the film — from the large to the minute — has clearly been poured over with great care, and it shows. It's an incredibly well-rounded film that allows everyone to shine. (As an aside, Everything Everywhere is an unlikely, but very fitting, film to double bill with Turning Red).
(Elevation Pictures)Evelyn Wang (Yeoh) and her husband Waymond (Ke Huy Quan) live in a small apartment above the laundromat they own and run, along with their teenage daughter Joy (a terrific Stephanie Hsu). In the middle of an audit, Evelyn is being pulled in many directions: getting the paperwork required by the IRS together, managing a strained relationship with Joy, caring for her elderly father (played by Hollywood veteran James Hong) and running the laundromat with Waymond. Things come to a head when Evelyn and Waymond meet with their IRS auditor (a delightful Jamie Lee Curtis).
Through a seemingly random sequence of events, Evelyn learns that the entire universe is at risk of total destruction by a great evil spreading throughout the different timelines and only she can stop it. Aided by Waymond-of-another-universe, Evelyn discovers the multiverse and learns she can "verse jump" and upload the skills of other Evelyns to our Evelyn — including movie star Evelyn, teppanyaki chef Evelyn and kung fu practitioner Evelyn, among others.
Due to the multiverse plot, the actors are given the challenge of portraying multiple versions of their characters and multiple dynamics between them. Each member of the cast rises to the occasion and incorporates subtle nuances while sinking into the different worlds effortlessly. Curtis, Hsu and Hong all turn in formidable performances, but Yeoh and Quan are the film's stars. Yeoh brings her trademark grace, elegance, and bad-assery to all the Evelyns, particularly shining as our Evelyn, who struggles with her unmet potential. As for Quan, his performance doesn't miss a beat — he plays the charming, sometimes bumbling dad with an ease and comfort that will be particularly gratifying for those of us who fondly remember Data and Short Round from The Goonies and Indiana Jones and the Temple of Doom, respectively. Though he's been missing on our screens for decades plus, it feels like he never left.
DANIELS give their cast a lot to work with. Each parallel universe is unique and filled with lots of intriguing elements to create full a rich world, even if only seen for a few minutes. What will certainly be a favourite among Asian film fans (and my personal favourite) is DANIELS' homage to Hong Kong director Wong Kar-Wai. Quan and Yeoh are mesmerizing in a world painted with the aesthetic of In the Mood for Love, where Quan exudes a particular dashing charm different from other Waymonds.
The film also includes some fantastic action sequences that recall Hong Kong films of the '80s and '90s while still feeling very modern. And the humour of the film is decidedly DANIELS' — quirky, juvenile and straight-up odd at times (all in the best way possible). But for all the action and humour, at the heart of Everything Everywhere All at Once is a touching film about discontentment with life and a parent's love for their child. DANIELS balance all these elements extremely well with great artistry.
Everything Everywhere All at Once is a movie that attacks the senses. The script is tight, the performances are all strong, and the filmmaking is fantastic. Every aspect of the film — from the large to the minute — has clearly been poured over with great care, and it shows. It's an incredibly well-rounded film that allows everyone to shine. (As an aside, Everything Everywhere is an unlikely, but very fitting, film to double bill with Turning Red).
