![]() This is a radical film, about radical love and radical acceptance. And it is brilliantly performed - Stephanie Hsu is revelatory as the multifaceted Joy Quan is astonishing in his cinematic comeback, an action master who’ll make your heart explode too Jamie Lee Curtis has a blast exaggerating the monstrous physicality of a no-bullshit tax officer and Yeoh is perfection, drawing on every skill from every role she’s ever played to bring Evelyn’s many lives to life. It is thunderously cinematic, revelling in the simplicity of filmmaking’s most basic tools, while deploying them to their maximum potential. So many films would collapse in on themselves under that kind of pressure. It’s both a reflection of, and an oasis from, the incessant overstimulation of 21st-century life. The magic of Everything Everywhere All At Once is in its title - within it, you’ll find every genre, experience every emotion. It’s a set-up expertly established in a claustrophobic opening reel, set in the cramped chaos of the Wang home - a taut ticking-clock of noise, motion and clashing conversations, radiating Uncut Gems-style stress. Subsequently, she’s closed off, trapped under the weight of her failed hopes and dreams, struggling to perpetuate a life she has no passion for. She has a business to run, taxes to file, customers to please, a father to live up to, a husband to argue with, and - most importantly - a daughter she increasingly cannot relate to. But there is universality in the way that she feels - overwhelmed by the relentlessness of her life, consumed by everything, everywhere, all at once. Michelle Yeoh’s Evelyn, a Chinese-American immigrant who runs a laundromat with husband Waymond ( The Goonies and Temple Of Doom star Ke Huy Quan, back on our screens at last), is primarily a woman teetering towards existential crisis. So much of that emotional depth comes from the fact that, beneath the multiversal mayhem, Everything Everywhere All At Once is a family story.
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