[Critique film] Everything Everywhere All At Once: The anti

Everything for nothing

Everything Everywhere All At Once was, according to rumors, the movie of the summer supposed to offer us a breath of fresh air vis-à-vis the dull productions of Marvel and others. Nevertheless and despite all our desire to believe in it and to support the film, we have to recognize in the end that the objective is not fulfilled.



What is nevertheless very interesting to analyze are the reasons that lead us to this feeling, because the footage seemed to be off to a good start on paper. A seemingly simple script but much deeper than it looks, certainly not very bankable but solid actors and ideas for original productions galore… In short, only good and it was certainly not the first American press then international which was going to contradict that.

It is indeed this that should have put us on the alert from the start: this almost immediate desire to promote a film with communication far superior to the usual standards for this kind of budget, even misleading when they mention a great public success. Which turns out to be relative because, with a budget of 25 million and current receipts of 100 million, we are not talking about failure but, given the cost of promotion and the hype, we are far from a memorable success. that other, more low-key footage has largely achieved.

The truth is, contrary to appearances, Everything Everywhere All At Once is not the opposite of a Disney film, but the other facet of a cinema that is turning more and more in circles.

Everywhere or nowhere

Copyright Leonine

One of the most delicate points of the film happens to be, as often, the script.

Evelyn Wang is a Chinese-American woman who runs a laundromat in Los Angeles with her husband Waymond and the least we can say is that her life is not rosy.

Overwhelmed by debts, a failing marriage, a sick but traditionalist and authoritarian father, as well as a daughter Joy who lives in a relationship with another woman, Evelyn is at her wit’s end.

This is where she will meet Alpha-Waymond, an alternate version of her husband, who will reveal to her the existence of a multiverse threatened by an evil entity that only she can fight.

Starting from this postulate inspired by so many Matrix only Marvel productions, the screenplay will link together more bizarre ideas than the others which undoubtedly constitute one of the strong points of the filmbut which will also highlight its flaws because the narrative richness will quickly come up against assumed bad taste and a catch-all feeling.

It’s simple: almost everything goes there, whether it’s the slow-motion fights, the gags below the belt, the marshmallow morality, the progressive dramaturgy, so much so that one wonders at a certain moment if , by dint of wanting to tell us everything, Everything Zverywhere All at Once doesn’t end up saying nothing at all.

Supported nevertheless with joviality by a Michelle Yeoh (Shang-Chi and the Legend of the Ten Rings) which literally monopolizes the screen and the former child star Ke Huy Quan (Indiana Jones and the Temple of Doom, The Goonies), not to mention a Jamie Lee Curtis (Halloween Kills) taking obvious pleasure in slaughtering his image as a sex symbol, we feel that the filming took place in joy and good humor.

However, the characterization turns out to be cumbersome. While the multiverse should have allowed us to glimpse different good or bad facets of the characters, the latter remain more or less the same, with just their different life choices. A mistake all the more painful as the length of the film is outrageously too long compared to the concepts it develops.

All at once is too much

Michelle Yeoh & Li Jihn in Everything Everywhere All At Once Movie
Copyright Leonine

And Finally, we realize thatEverything Everywhere All At Once tells us the same story as a Marvelgives us the same morality, serves us the same characters, with only the packaging that changes.

The heroine is not a body-built Norse God but a woman in her early sixties, the story does not focus on the future of the multiverse but on one person’s doubts, the antagonist is not a robot or an antediluvian demon but a loved one whose mind has wandered. It’s all well and good, but in the end it tells the same thing by stretching it over 2:20 and forcing us to look at our watch wondering when the predictable conclusion from the first hour of the film will finally arrive.

Most critics couldn’t help but adore this footage as it’s stripped of the tinsel that still bother them, while promoting their pseudo-meta and progressive philosophies. Problem, despite its good ideas, the film often becomes boring, its humor as short of the daisies as a sketch by Bigard (and again, it tells them better) and the cast’s good humor cannot mask the fact that the problems of the world are not settled with kisses.

At a certain point in the film, the “bad guy” shows that he has succeeded in synthesizing the multiverse in the form of donuts (!). It’s kind of how every person would end up feeling in front of Everything Everywhere All At Once. VSome greedy would try to eat as much as possible while others would give up on the scale of the task, but all would end up coming to the same conclusion: it’s too much and it ends up becoming sickening. A bit like squirming for the tenth time the script copied and pasted from a Disney movie.

[Critique film] Everything Everywhere All At Once: The anti-Disney?