Kambole Campbell’s review published on Letterboxd:
Drawn quite thin over too much time (and multiple dimensions), and finds diminishing returns in its many many repetitions of some of its sillier moments, especially in humour that leans too hard into frequently cringe-worthy early 2010s internet forum zaniness, doubling down on jokes that honestly feel at odds with the story they’re trying to go for.
But the emotion of the intergenerational family story at its core is mostly uncompromised - of a woman rediscovering her love for those who keep her anchored and help her weather the fallout from her mistakes. Despite the implications of the title and its formal maximalism, it’s just a really simple, sometimes sickly sweet story of working through marital and maternal failings. A lot of it worked on me - I liked the characters a lot, though Stephanie Hsu was working overtime to compensate for some pretty aggravating dialogue.
The main draw isn’t the zaniness but, of course, Michelle Yeoh being finally given room - in a leading role - in an American film that at least understands the range of her talents (though not how to fully capitalise on them), far beyond just being another cameo, another tough lady or stern mother. It often plays like an ode to her career, with some fun moments breaking the fourth wall in direct engagement with her actual stardom. That appreciation might honestly be the main reason why I left more positive than not.