Everything Everywhere All at Once

Everything Everywhere All at Once ★½

In an interview to promote The Card Counter, writer/ director Paul Schrader stated the following in regards to modern cinema:

Each generation is informed, and informed by literature, or informed by theater, or informed by live television, or informed by film school. Now we have a generation that's been informed by video games and manga. It’s not that the filmmakers have changed, it's that the audiences have changed.”

Everything Everywhere All At Once is this generation’s opus. It is a film that operates with the language of internet memes, video games, post-modern references to other popular movies, Rick and Morty, and MCU (don’t think that Russo Brothers got involved for nothing…). In other words, this is the ultimate Letterboxd movie. The Daniels’ are masterful content creators who have been conned into believing they are not only cinematic auteurs, but visionaries of peak Terry Gilliam-caliber. 

I greatly disliked how this movie was riddled with 2012 internet randomness and contrived emotion (apparently people cried at the rock thing… huh? And the 1:1 Wong Kar-Wai sequence— does it register to many as deep simply because it pretends to look like In The Mood for Love?). The cinematography is unremarkable, the fight choreography is nice (but awkwardly sped up… honestly, the frame rate in those sequences looked really cheesy). I did really enjoy the two lead performances, however (the parents, not the daughter, who was insufferably twee everytime she appeared as her alter ego).

I thought maybe I was wrong about this film, so I walked into an ongoing screening while waiting for Ambulance to begin. A cacophony of loud noises culminated in the daughter going “UHHHH… Evelyn? BAGEL?” Somehow, this elicited rapturous laughter from the audience. I promptly walked out— Yeah, not for me.

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