Our review of Everything Everywhere All at Once: intensely weird and wonderfully delightful.
Evelyn Wang is dealing with — in the words of Crash Davis —. The laundromat she runs with husband Waymond is being audited by the I.R.S., her father has just arrived from China in the midst of her preparations for a Chinese New Year party, and she's having trouble coming to grips with her daughter Joy's coming out. Oh, and she's just about to learn there are an infinite number of parallel universes, all of which may be destroyed.
The multiverse concept, for example, is one we're all too familiar with these days. The idea here is actually a feature-length version of the many-worlds theory, in which every decision creates its own reality. One early example that springs to mind is Richard Linklater's character explaining the phenomenon in of us belonging to that particular cohort. Meanwhile, Ke Huy Quan — who retired from acting in 2002 due to a lack of roles — is a delight in what amounts to triple duty.
Cinematic multiverses aren't new, of course, and neither are films weirdly combining kung fu, family dynamics, and body horror . The difference is, while is breathtakingly weird, it's surprisingly uplifting, ultimately rejecting the villain's nihilism for hope. It's also deeply grounded in the relationship between Evelyn and Joy, providing one of the most affecting representations of 21st century parenthood we've seen to date.hits in unexpected ways, both emotional and visual, and is one of the most delightful theater experiences I've had in years.Since we started the, it has been defined as the free, independent voice of Houston, and we'd like to keep it that way.
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