Everything Everywhere All at Once Review: Grounded Absurdity

Everything, Everywhere, All at Once is a multiversal masterpiece.

The Daniels latest film is an explosive deep dive into heavy theoretical concepts highlighted by comedic and emotional beats that never failed to make me laugh, cry, and everything in between all at once. Following Chinese immigrant Evelyn Wang in the midst of a familial breakdown when her husband, Waymond, requests a divorce, her daughter, Joy, is more ambivalent than ever, and her father again pressures her into an impossible role, Evelyn is everything her family doesn’t want. Trying and failing to run a laundromat under their apartment, Evelyn is far too focused on work at the cost of her most important relationships. Sound familiar? The first twenty minutes of this soon to be breathtaking exploration of the multiverse sets the stage for a typical, albeit efficiently told, family drama. Because of the quippy writing, effective establishment of characters, and strong visuals I wouldn’t have been upset if the film was a more grounded narrative, but once Waymond shares bodies with an alternate dimension version of himself to warn Evelyn of an incoming multiversal threat, the film explodes into absurdity, but easily being the film’s most important feat and greatest strength, manages to stay grounded by its emotional story at the heart of this controlled chaos. Despite the fact this is the most exhilarating film I’ve seen in some time for its sheer spectacle and humor alone, I can wholeheartedly say I would not have enjoyed it as much as I did if it were not for the familial aspect, the emotional connections between the characters pushing the story forward as much as the jaw dropping action scenes and whacky narrative beats. For this, Everything, Everywhere, All at Once is something I can guarantee you have never seen before, both for its incredible balance of tones and the quality at which it is executed.

This is one of those films where you can tell it will be fantastic from the opening shot. Opening on a cluttered apartment filled to the brim with knick knack’s, tax work, and anything else one can think of, the character’s situation is immediately established in mere seconds. Most significantly, in the midst of the familial chaos is a mirror centered in frame, showing the reflection of the three main characters, a mother, daughter, and husband cheering at a movie the audience is unaware of, only viewing the ecstatic reactions of the close family unit. However, a hard cut to the present day shows an empty mirror, no lights on, but the same clutter, the same stresses, the same cracks in the mold. The camera then seamlessly pushes through the mirror, flipping itself over to reveal why this seemingly loving family has separated, Evelyn curled over the table lost in her work. Again, it only takes a few seconds to effectively convey the core conflict of the film and the main character’s biggest hurdle: overcoming her need for success. Furthermore, the way in which the camera flows through the mirror establishes a tone for the film, one in which anything can happen and camera tricks will be bountiful. The depth at which this opening shot is presented with is emblematic of the creative and innovative cinematography the film consistently utilizes to make for a nuanced and entertaining viewing experience unlike anything previously put to screen. The conversational segments are captured from creative angels, the fight scenes have the camera whirring around spaces with an energetic pace that make the viewer feel apart of the action. Best yet, the film is packed with visual references to other cinematic cornerstones, such as Wong Kar-Wai’s signature blurred style, proving that the Daniels are capable of more than action oriented and whacky camerawork, that they are capable of presenting emotional moments with a creative seriousness that wears its references on its sleeves in the best way possible. However, a film’s look is more than the camera, it’s everything the apparatus captures, which perfectly fits the wild aesthetic the film shoots for and nails on the head. From unique costume design to jaw dropping colored lights, every shot is a blur of excitement, heartfelt emotion, and eye popping beauty. Essentially, the film’s visual style is pure dynamism, a constant shift between opposite ends of the emotional spectrum with flawless execution. The narrative, themes, and tone are all clearly established from the visuals alone, which is proof of a strong aesthetic style.

The discussion of the film’s visuals does not end at practical effects, as Everything, Everywhere, All at Once is a treat to the eyes for more than all of its strong visual aspects I’ve previously mentioned. Simply put, I do not believe I’ve seen a film use this many special effects to this degree executed with such high quality. The camera lens often cracks when Evelyn travels between dimensions, characters will burst into glitter or melt into mush, sped up camera whips will mimic the traversal between dimensions, and the set pieces are beyond creative resulting in some of the most inventive and entertaining stretches of a film ever. There are digital camera tricks that I have never seen before, action scenes highlighted by special effects to strengthen the already one of a kind choreography, and sets that simply feel other worldly. Dimensions opening between characters hands, traveling through time, hot dogs for fingers; I couldn’t name every unique idea even if I tried. In other, more concise, words Everything, Everywhere, All at Once presents set pieces and visuals that would have been impossible to convincingly depict twenty years ago, thereby pushing the boundaries of film while cementing the Daniels as creative geniuses.

However, anyone can think of the craziest thing possible and put it to screen given the correct budget, meaning what makes the Daniels such impressive directors is the strong narrative and the way it’s balanced with the complete absurdity. Despite my words up to this point, Everything, Everywhere, All at Once is not two and a half hours of kooky-ness for weirdness sake, it is a carefully calculated, planned, and developed story that is heightened by its insanity, a narrative that uses absurdity to tell a grounded emotional story of a struggling mom learning the significance of family and life itself. Returning to the beginning of the film, this story is incredibly economical, that is, when it chooses to be. My only complaint with the movie is there are moments where the chaos becomes a bit too chaotic, and although I enjoyed every moment, I was upset the film was not returning to its emotional core. These stints are few and far between, and although the bombast is certainly entertaining, it goes to show how strong its narrative is if I would rather see two characters talking than multiversal action scenes.

The film efficiently establishes every character’s personalities and individual problems. Evelyn is a work obsessed failing mother that cannot communicate with her own family, Waymond wants a peaceful life of love but can no longer handle Evelyn’s disappointing obsession, and Joy ironically feels none when speaking with her mother. After a brief but informative introduction, we are thrown right into the action when Evelyn, Waymond, and Evelyn’s father reach a tax meeting. Although it sounds boring, this scene is anything but, as the alternate dimension Waymond is introduced and informs Evelyn of the incoming threat that could destroy the multiverse as we know it. Beautifully presented and a genius decision, Evelyn’s life is literally being split in two as she travels between the current dimension and one under collapse, tearing the character from their old and new worlds, a fundamental screenwriting tool that is used in the most popular stories ever. A character begins in their old world, a world that highlights their weaknesses and allows them to relish in their issues. At the inciting incident, the protagonist is thrust into the new world, one that consistently tests their old beliefs until they develop and change. Notably, the inciting incident should seem to be a solution to the main character’s desire when it really brings them closer to their need. Evelyn’s desire is success, to live a life worth remembering, which is promised when the alternate Waymond tells Evelyn if she chooses to come with him, then she will finally have done something important. While true, this same decision sets Evelyn on a journey that teaches her success is not the key to life, but family and relationships are. Essentially, the film follows proven story structure’s to a tee, and this sentiment is true for the rest of the film. Every single narrative beat revolves around Evelyn’s blossoming acceptance of her family, such as her first test to gain the abilities of alternate dimensions being a confession of her love to a near stranger. Is it clear why this is genius? Rather than gaining these abilities by a futuristic device, it becomes a test of her character, a decision Evelyn must make that challenges her old beliefs and pushes her towards new ones. In other words, every beat revolves around Evelyn’s development, meaning every aspect of the narrative connects to the major themes of the film, resulting in a story that despite its constant entertaining and bombastic visuals, set pieces, etcetera, still hits. The emotional moments are still effective, and the climactic crescendo will have the audience in tears. It’s a balance unlike any I’ve ever seen, an impossible feat that I didn’t know were possible until this film. Furthermore, those more off the wall elements I’ve been mentioning are usually set up. For example, when visiting the taxing office the camera captures trophies that are suspiciously similar to butt plugs. Upon seeing this, I laughed, thinking nothing more of the peculiar shape. However, an hour later one of the enemies tests to switch skills between realities to use a butt plug, which brings the trophy back into the narrative. So many jokes are set up to the point where they become significant story elements, only making the film feel like a more complete package.

While the cinephiles may be upset that a film with butt plug humor, hot dog fingers, and such wild imagery is currently being considered one of the best films ever made, I cannot help but praise this film for being a one of a kind marvel, an innovative masterpiece that pushes the boundaries of visual storytelling while reminding the viewers of the strength of age old story telling techniques. From boundary breaking visual effects effortlessly balanced with a strong story, Everything, Everywhere, All at Once is representative of contemporary film, everything I want in a movie, and a cinematic marvel I highly recommend everyone views at least once.