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Evelyn is tasked with saving all of existence in the time it will take for her to get the right receipts back to the IRS to prevent the seizure of her laundromat.
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Her only emotion is anxiety, because her disapproving father has arrived for a visit from China and she is terrified of his negativity.Īt their meeting with a harsh IRS auditor (Jamie Lee Curtis), Evelyn is suddenly made aware of the existence of billions of universes, all of which have come under threat of extinction from an all-powerful and nihilistic force named Jobu Tupaki-who happens to be her own depressed daughter in our world. She shows no kindness or warmth to him or to their daughter. She hates the fact that the IRS is about to seize it from her. She hates the laundromat she and her husband (Ke Huy Quan) run. The story in Everything Everywhere All at Once involves Evelyn, a disappointed small business owner, played by the legendary Hong Kong actress Michelle Yeoh. That was undoubtedly enormously original.
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For example, the movie the two Daniels made before this, Swiss Army Man, was about a man on a desert island who escapes by riding on the back of a corpse that powers their way across the oceans by farting. I thought it a crashing bore, because I'm one of those tiresome people who don't really want to feel "out of control." And I've always had an allergy to self-consciously and deliberately "original" fare, movies and novels with crazy plot points and incidents and details that seem to have been chosen in large measure because no one has ever chosen them before. The kinds of reactions it's eliciting echo that long-ago conversation between my two friends. (It gets some Marvel-cred because it was produced by the Russo brothers, who directed the last two Avengers movies.) But more important than that, from its first moment to its last, you genuinely have no idea where this thing is going, and it just gets wilder and wilder and wilder-and less and less coherent in terms of plot. What Everything Everywhere All at Once does have is a bankable plot in a bankable genre: It's an action-adventure sci-fi fantasy about multiple universes. It doesn't have any big stars, and its two directors-Dan Kwan and Daniel Scheinert, who are credited as "Daniels"-are known only to cineastes. By the end of this weekend this hipster indie, partially in Chinese, will have made more than $30 million, almost all of it due to enthusiastic word of mouth, and it's on its way to making many times that both here and abroad. It's called Everything Everywhere All at Once, and it's the first legitimate box-office sleeper since the onset of the pandemic two years ago. There is a picture now in release that does. After 120 years of moviemaking and moviegoing, it's almost impossible for films to create such a feeling-to take you to an out-of-control place. They bungee-jump, and ride rollercoasters, and yes, go to Holocaust museums-all so that they can experience the sensation of being "out of control" in a controlled setting. Control."ĭespite the constant warnings that we're all "triggering" each other with traumatic experiences and stories and concepts, people seem to crave nerve-jangling and emotion-shattering stimulus wherever we can find them. "Oh my God, Jen," said one, "have you been?" Jen replied that she hadn't, but was desperate to go how was it? My other friend paused, and then said, deliberately and excitedly: "It was Out. One day, many years ago, two friends of mine had a conversation about the just-opened Holocaust Museum in Washington.