In this day and age, there is a continuous argument over originality versus franchises when it comes to storytelling on the big screen. Usually, the bigger budgeted films are either superhero films, sequels, or reboots of some of Hollywood’s classics. It is completely refreshing then that this small independent film, Everything, Everywhere All at Once, has the budget and the storytelling tools to craft a wholly unique and original film.
Filmmaking duo Dan Kwan and Daniel Scheinert, collectively known as the Daniels, haven’t had a lot of experience making films with only one other film on their resumé so far with Swiss Army Man, the film where Daniel Radcliffe plays a farting corpse. Yes, remember that film? These two filmmakers are responsible for that, and despite the weird and flatulent premise it was actually a heartwarming film about companionship, loneliness, and mental health, but those themes were not on the surface. The same can be said for their latest film, a film so mad, so weird, and utterly bonkers that actually, it has a lot to say at the same time.
Everything, Everywhere All at Once is best discovered knowing very little about the plot so I will keep this brief and will reveal as little as I can. The film is about Evelyn, played by Michelle Yeoh, an owner of a laundromat in a small town in the States, who goes to visit the IRS about her taxes with their IRS officer being played by Jamie Lee Curtis. Within minutes the plot of the film kicks in which takes Evelyn across a multiverse where there are infinite different versions of herself. The how and why this happens is best left unsaid for now, but trust me there are rules in place that stop this film from going over the top or “jumping the shark” so the speak.
The visual effects, camera angles, and other technical trickery make you feel like this is a huge blockbuster film which is probably why this film is getting so many rave reviews. By using as little as they can, and by compromising with different camera techniques, the Daniels make the most of their tiny budget by incorporating so many different visual styles to this film to make a coherent and colourful story. It is almost impossible to classify this film or say which genre it ultimately submits to, but that is part of what makes the film clever. It doesn’t adhere to genre conventions or storytelling clichés.
There are some underlying themes that the film addresses with a major one being the relationships between parent and child, with Evelyn’s dad being played by a mesmerising James Hong who chews up all the scenes he is in and Evelyn’s daughter, Joy, who is played with a massive amount of energy by Stephanie Hsu. Each character feels so vibrant and important with Ke Huy Quan’s character Waymond, Evelyn’s husband, having his own stand-out fight scene at the beginning of the film. It may feel like the film has a lot to offer, but that is part of the its charm. It’s the gift that keeps on giving.
★★★★★
5/5
To use an age-old cinematic metaphor, Everything, Everywhere All at Once is like a box of chocolates where you don’t know what you’re going to get, and each chocolate is just as sweet as the last. By the end of the film you would have gone down a cinematic journey which you probably won’t experience again. Each member of the cast have their time to shine with each character feeling as important as the other. The filmmakers involved laid out the rules with their multiverse plot and then went for it, delivering a film that will go down in cinematic history as one of the best. This is one film you don’t want to miss on the big screen!
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Alex Murray, the Head of Eyesight Productions
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