critical of the true Multiverse of Madness

Tax and dragon

Evelyn Wang started her day off in the family laundry. Her husband Waymond is considering a divorce, her daughter is angry with her for not accepting her boyfriend, and her father is visiting the United States, bringing with him all the regrets he can throw at her. his son’s face.

However, all this is ultimately a small matter in front of the tax adjustment that awaits heroin. What Evelyn doesn’t know is that her arrival at the cold and impersonal offices of the tax inspectors will be the scene of a breach in the Multiverse. Yes, this same Multiverse that pop-culture uses to justify almost everything and anything, the extreme metaphysical impulses of Rick and Morty of Marvel’s infinite screenplay “reset” possibilities.

Can you hear me, Yeoh?

must, Everything Everywhere Everything At Once It may seem phoned, even opportunistic, in its way of combining a drama with the American tendency of the Sundance festival and a narrative force with mode. The wonderful card of the film across the Atlantic – which enjoyed word-of-mouth too rare to underline – baffled one. Are we facing a real contemporary phenomenon that comes from nails (more pleasing at a time when cinemas are struggling to recover from Covid) or a simple stroke of marketing genius?

Fortunately, the feature film by Daniel Scheinert and Daniel Kwan (nicknamed Daniels) quickly tips the balance in favor of the first option. Despite the bewildering number of rules and concepts that allow Evelyn to connect with versions of herself in other dimensions, the governing duo (now at the helm of Swiss Army man) tries to maintain efficiency in its narrative unfolding, so as not to lose the viewer in avalanches of poor techno-bullshit.

Fortunately, moreover, because for some, Everything Everywhere Everything At Once did not give a gift. A thousand ideas follow each other every minute. It’s criminal to talk too much about the ins and outs of the whole thing, let’s just say that kung fu rubs shoulders with, among other things, existential science fiction films and… sausage-fingered people . The result can be terrifying. On the contrary, it could not be more pleasant.

Photo by Michelle Yeoh“I don’t have friends. I have family” – Dominic Toretto


On the Large Screen, we appreciate it more Doctor Strange in the Multiverse of Madness, but we have to admit that Sam Raimi’s film disappoints when it tries to take its core concept. More than a sequence that tests funny ideas, we have for the rest a clean future where you have to cross a red light (stupid!).

Faced with so much tepid, Daniels’ feature film can only cause syncope in comparison. Continuing a unique movement, the filmmakers cover the entire world, and pass from one universe to another through the games of devices and transitions that reveal the generosity of the project.

Michelle Yeoh, Jamie Lee Curtisfingers in worship

Whether he enjoys parodying classic animations or delivering the funniest martial arts scenes in recent American cinema, Everything Everywhere Everything At Once takes the form ofa cultural pop potpourri always polite and respectful to its models. Shock is reminiscent of why the Wachowskis were so inventive in the first place Matrix, and it’s probably not a coincidence. While the most unlikely actions help to connect to other universes, Evelyn discovers how her original world is a normative hyperreality, especially when she tries to get herself out of the comforting offices such as where Mr. Anderson.

However, the feature film can also be compared to a recent work, viz Three thousand years waiting for you by George Miller. In both cases, the bulimic appetite for combat in the fictional universe paradoxically refers to a blueprint of the seventh art, and to return to its basic principles. What is important is the connection between the two images to create the movement, and the two planes to give meaning to this movement, among the mundane nonsense of life.

Everything Everywhere Everything at Once: PhotographyThe world is stone

These foundations become crucial to the overall architecture of a film that ultimately leaves nothing to chance. or Everything Everywhere Everything at Once can be happy with his crazy behavior (and this is the case in rare moments), he does not forget that he serves a strong emotional heart, which regularly distributes cards. In the great void that exists in the Multiverse, the Daniels always cling to their characters, even the most tertiary, to make their desires, their sorrows, their frustrations exist.

Each shot of a universe leads to its reverse shot, exploring a blind spot that transforms each recurring gag into an intense catharsis. Even when it comes to using an evocatively shaped trophy as an anal plug, The film treats its follies with a salutary first degree. The humanity that he captures is only made more impressive by its universality, which evokes family anger, depression, unspoken, and the need to express a love that is always silent.

pictureKe Huy Quan, absolutely brilliant in all registers

In the Mood for Love (and Kung Fu)

From there, it’s hard not to melt for the meta dimension of the film, which offers the beautiful actors the role of a lifetime, like revenge against an industry that humiliated them. While Ke Huy Quan (Waymond) is always underrated by Half-MoonIndiana Jones 2he is more charismatic than ever as a gentle husband or a brooding gentleman straight out of a Wong Kar-Wai film.

But of course, Everything Everywhere Everything at Once first of all a declaration of love to Michelle Yeoh, thanks to a camera that never stops sublimating the excellence of his game and his martial skills, which are as impressive as ever. The actress of Tiger and Dragon suddenly becomes more than that, and constitutes through the delirium of Daniels a metonymy of the Hong Kong cinema of the past.

Photo Li Jing, Michelle YeohSaint Michelle is a farm

Here again, we think of the first adventures of Neo, but with a more bitter aspect, which evokes the swan song of a movie idea. When Evelyn goes back to the source of who she is, it’s usually the feature film approach. He aims to close the loop around his referents, in particular he uses the shape of the circle as a recurring motif, from the drum of washing machines to a donut.

Everything Everywhere Everything at Once is all the more impressive and pleasant, as he always managed to land on his feet, like a miraculous cat (or Schrödinger) that would have been thrown from the top of a skyscraper. His hyperactive energy is not just an artifice. This is probably the best way to include the feature film in a so far no innovation, where the images are linked and respond to each other like many swipes on a social network timeline. If the Multiverse is starting to tire, the Daniels may have signed one of the definitive works on the subject.

Everything Everywhere Everything at Once: Photography

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