Ryan Swen’s review published on Letterboxd:
"I don’t usually like to make my life and background the focus of my reviews, since my general inclinations are to let my observations assume their personality from what I choose to write about and to not interfere with the text itself. But Daniel Kwan & Daniel Scheinert’s Everything Everywhere All at Once begs for me to consider it in light of this. There are certain aspects of myself that, for various reasons, I can’t bring into this piece, but suffice it to say that this film — in how eerily and perfectly it captures my relationships with my parents and my heritage, along with my present circumstances — should have absolutely destroyed me, serving as an absurdist funhouse mirror that nevertheless contained my recognizable visage at the center. That it doesn’t do so (leaving aside any likely emotional deficiencies that I possess) stems from, among other things, its utterly counterproductive ambitions and its ultimate shortsightedness with regards to a certain view of Chinese-American experiences, along with its misunderstanding of Michelle Yeoh; I should say here up front that my parents are from Taiwan while the Wangs are from Hong Kong, but as I’ll get into this slight difference might be even less significant than it originally appears, to the film’s detriment."
"Before fully diving in, I do wonder how much of my response to Everything Everywhere All at Once is a direct reaction to the way it has been received as a landmark of Chinese/Chinese-American representation in United States film. It’s certainly something I’ve considered, and has been at least a small part of my negative feelings towards Crazy Rich Asians and The Farewell (and, much more tangentially, Minari for Asian-Americans generally). While the merits of these films vary wildly, it’s impossible not to notice that the main thing linking all these films together is that most common of narrative devices, especially with respect to Asians: family. I don’t mean to imply at all that filmmakers of Asian descent should avoid trying to make films explicitly about family; Edward Yang’s Yi Yi is my favorite Chinese-language film after all, and everyone from Fei Mu to Tsai Ming-liang has at one point or another explored what it means to be part of a family. But what comes across as a more quotidian or allegorical concern in those films is “elevated” to something of near-life-or-death consequences, the battle between the parent who wants to preserve the family unit at all costs versus the child who yearns to become more free, who implicitly wants to assimilate (or has) into the Western culture in which they live."