Everything Everywhere All at Once

Everything Everywhere All at Once ★★★★★

Then I will cherish these few specks of time.

The best "It's my birthday, let's go to the movies" choice I could've possibly made. Awe-inspiringly edited by Paul Rogers, impeccably performed by the entire ensemble (particularly a career-best Yeoh and the overwhelmingly triumphant return of Ke Huy Quan, though Hsu's certainly no slouch either), and designed to abject perfection by Daniel director-writers Kwan & Scheinert, Everything Everywhere All At Once is just as masterful as the hype suggests.

I had outrageously high expectations from the moment its trailer dropped, and it just kept surpassing them again and again and again—with every set piece, every uproarious joke, every soaringly emotional beat. The film has a heart as mind-bogglingly gigantic as its premise and it's, truly, something you have to see (preferably on the biggest screen possible) to believe.

What *the* Michelle Yeoh does here is rather unquestionably one of the best actress showcases I've ever seen in the history of the art form, and if she—and the directing and writing and Quan and Larkin Seiple's photography and Rogers' aforementioned editing and Jason Kisvarday & Kelsi Ephraim's production design and Shirley Kurata's costuming and Son Lux's score and the makeup & visual effects teams—is forgotten by next awards season, I'll dive headfirst into the forbidden everything bagel. It's a glittering triumph on every level, through and through.


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