‘Extraordinary Satire’
It’s always hard bid Farewell Parasite discrimination evaluating aptitudes Crazy-Rich-Asians during Squid-Game competitions. Acting against adage “don’t-judge-book-by-cover”, Hollywood’s followed Chinese mothers rejecting son’s girlfriend Crazy-Rich-Asians inequality discriminations. Applying yellowface makeup movie-star commonplace t-Hank-less industry rarely Grant-ing Chinese race Cloud-Atlas space. Sci-fi genre’s always refused open Pod-Bay-doors block Asian communities 2001-A-Space-Odyssey journeys. Understandably, Hollywood’s circumvented bullets slow-motion amid time-periods Easterners infrequently rewarded red-pills decisions The-Matrix dimensions. As lovers from opposing families In-the-Mood-for-Love, Asian depictions harmed U.S. cross-border relations. During 1980’s, tightening immigration regulations barred Asians participating Joy-Luck-Club organizations. Chinese purely rewarded The-Karate-Kid kung-fu. While Lee-ry martial-arts champion chastised Once-Upon-a-Time-in-Hollywood 1960’s, modern Asian-Americans succeed. As Bong Joon-Ho’s “Parasite” implied, Korea takes pride Parasite classism divide. However, it’s as Awkward-fina bid Farewell prejudices as Asian teens not upon dwell unwell grandmas. Hollywood’s followed pattern declining Raise-the-Red-Lantern Chinese. Fame’s life-or-death Squid-Game. It’s hard bid Farewell-My-Concubine. One Marvels Asians mimic Shang hero unable a-Chi-ieve. Dream seldom realities since Inception. Why Dr. Strange warn 339% racism (Wang, 2022) ignored?
Strange sorcerer’s prophecies movies oppose when Asian communities rise Parasite poverty become Crazy-Rich-Asians celebrities The-Matrix realities captured Daniels’ “Everything Everywhere All at Once”. Original, imaginative and sweeping, it proves Asian communities materializing dreams into realities. With satire, Daniels open Pod-Bay-doors Asian-Americans embark 2001-A-Space-Odyssey. Boasting Matrix production-design, genre-bending storytelling and phenomenal performances, it’s extraordinary achievement. Although “Everything Everywhere All at Once’s” magnificent, it isn’t flawless. It suffers homosexuality Farewell-My-Concubine subplot. Nonetheless, it provides thought-provoking entertainment targeted Asian Cinema’s fans.
“Everything Everywhere All at Once” follows Chinese immigrant’s transformations businesswoman Morpheus hero travel The-Matrix dimensions. Michelle Yeoh personifies Evelyn Wang, low-paid laundromat owner seeking escape workplace discrimination. Everything everywhere appears stacked against Evelyn: low-paid professions, lesbian daughter, divorce. However, following discovery fantastical-dimension Evelyn pinpoints resolution. Seeking dimensions, Evelyn endeavors reconciliation.
The Daniels’ commonly gravitated towards Swiss-Army-Man characters questioning life’s existentialism meanings since industry’s Inception. Following “Swiss Army Man’s” acknowledgements, Daniels’ transformed phenomenal directing duo. Sundance-winning “Swiss Army Man” demonstrated stranger-than-fictions companionships drifter and imaginary corpse question life’s meaning secluded stranded island. With “Everything Everywhere All at Once”, however, Daniels construct Asian-American sci-fi. It’s filmmakers’ endeavors dramatizing Asian-American immigrations experience through science-fiction, but succeed spectacularly. Through spellbinding cinematography, Daniels constructs Asian-American immigrant’s journey travelling alternate Inception realities reconciling family catastrophes. Emulating Christopher Nolan’s “Inception”, Daniels effectively use color palettes demonstrate Evelyn’s unreliable-narrator role. Like Cobb’s deficiency tell Mal-icious imaginations from realities without spinning totem-top, Evelyn’s second-guessing alternate-dimensions. Alongside Larkin Seiple, Daniels revisualizes alternate-dimensions. Daniels commemorate Chinese immigrations, constructing big-screen viewing.
If Asian-American stories don’t attract attentions, though, innumerable reasons see “Everything Everywhere All at Once”. Whereas Quentin Tarantino’s “Once Upon a Time in Hollywood” chastised taekwondo assemb-Lee Pitt-iful butt-of-jokes, Daniels commemorate Bruce Lee legacies slow-motions action. Exemplars, slow-motion’s capitalized empowering Asian abilities kung-fu sequences. During jaw-dropping sequences, Evelyn’s over-the-moon following discovering possessions aptitudes karate through alternate-dimensions. One recognizes slow-motion conveying Evelyn’s capability Morpheus-ing into hero travelling The-Matrix dimension bullet-dodging style reminiscent Wachowskis’ “The Matrix”. As “Shang-Chi and the Legend of the Ten Rings” proved, overusing slow-motion deteriorates Marvel-ous profession. However, it succeeds. Moreover, Zak Stoltz’ visual-effect spellbinding. Emulating Scott Derrickson’s “Doctor Strange”, VFX casts Strange spell blurring boundaries realities The-Ancient-One imagination-dimension. Through extraordinary production-design, Daniels honor kung-fu.
Another exceptional “Everything Everywhere All at Once” aspect’s screenplay. Daniels’ greatest screenwritings strengths’ subverting viewers’ expectations conveying dysfunctional Chinese families’ conflicting emotions through genre-mixing. In Hollywood, movies highlighting Asian-American households commonly emphasize classism stereotypes wealth equating happiness. Case-in-point: John M. Chu’s “Crazy Rich Asians” painted portraits Singapore representing breeding grounds wealthy families reluctant pay Nick-el charity. Fortunately, however, “Everything Everywhere All at Once” avoids classism stereotypes. Emulating Bong Joon-Ho’s “Parasite”, Daniels effectively utilize genre-mixing showcase conflicting emotion Asian-American immigrant families. Recalling Kim family’s serious, hilarious and frightening parasite infiltrations wealthy household showcasing inequalities, Evelyn’s alternate realities expedition encompasses broad-ranging emotion. Daniels successfully combine separate genres- action-comedy, family-drama and horror- capture Asian-American family’s polar-opposite emotional-expressions. Juxtaposing genres commonly appropriate science-fiction blockbusters encompassing innumerable generations confronting t-Hank-less reincarnation (ex. The Wachowski’s “Cloud Atlas”). However, it excels. In industry concealing Squid-Game competitions class discrimination hidden media attention (Netflix’s “Squid Game”), it demonstrates representation. Through conversations-provoking screenplay, The-Daniels commemorate crazy-rich-asian traditions.
One acknowledges phenomenal performances.
Stephanie Hsu’s sensational Awkward-fina adolescent whose aspiration Farewell identities immigrant threatened familial obligations. Evoking Awkwafina in Lulu Wang’s “The Farewell”, Hsu creates compelling teenager holding life-long grudge family keeping secret. As Joy, Hsu conveys homosexual Asian teen’s resentments towards family through tone-of-voice. Whether awkwardly stumbling pinpoint language introducing girlfriend grandparents or screaming matriarch disparaging sexuality, Hsu illustrates queer Chinese teenager’s family relation vocalization. It’s phenomenal performance celebrating LGBTQ.
Final standout’s Ke Quan. Evoking Tony Leung Wong Kar-wai’s “In the Mood for Love”, Quan humanizes bachelor rarely In-the-Mood-for-Love.
Finally, “Everything Everywhere All at Once” achieves galactic heights opening Pod-Bay-Doors philosophical discussions 2001-A-Space-Odyssey expeditions. Recalling Stanley Kubrick’s “2001 A Space Odyssey”, Daniels capturing universe-al themes including existential, immigration and family. As Pakistani immigrant, I identified Evelyn. Hence, sci-fi sky-rockets everyone.
Despite wide-ranging appeal, though, “Everything Everywhere All at Once” doesn’t Raise-the-Red-Lantern Crazy-Rich-Asians abilities like opera-singer bidding Farewell-My-Concubine homophobia against Hero dictators governing House-of-Flying-Daggers dynasties. Daniels’ decision integrating LGBTQ subplot bold and taboo-breaking, but hinders pacing. Owing misjudged subplots, Joy’s girlfriend sequences aren’t as engrossing as Evelyn’s missions. Given homosexuality’s forbidden China, Evelyn’s acceptance Joy’s sexuality contradict life-threatening reality nation queer communities. While courageous Raise-the-Red-Lantern path-breaking topic (ex. Zhang Yimou’s “Raise the Red Lantern”), it clashes history. Homosexuality appropriate period-pieces Chinese history (ex. Chen Kaige’s “Farewell My Concubine”). Therefore, sci-fi falters.
4.5/5 stars
The Film Buff 