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Everything Everywhere All at Once
Theatrical release poster
Directed byDaniel Kwan
Daniel Scheinert
Written by
  • Daniel Kwan
  • Daniel Scheinert
Produced by
Starring
CinematographyLarkin Seiple
Edited byPaul Rogers
Music bySon Lux
Production
companies
Distributed byA24
Release dates
  • March 11, 2022 (2022-03-11) (SXSW)
  • March 25, 2022 (2022-03-25) (United States)
Running time
140 minutes[1]
CountryUnited States
Languages
  • English
  • Mandarin
  • Cantonese
Budget$25 million[2]
Box office$102.5 million[3][4]

Everything Everywhere All at Once is a 2022 American absurdist comedy-drama film written and directed by Daniel Kwan and Daniel Scheinert (collectively known as "Daniels"), who produced it with the Russo brothers. The plot centers on a Chinese American immigrant (played by Michelle Yeoh) who, while being audited by the IRS, discovers that she must connect with parallel universe versions of herself to prevent a powerful being from destroying the multiverse. Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis appear in supporting roles. The New York Times called the film a "swirl of genre anarchy" that incorporates elements of black comedy, science fiction, fantasy, martial arts films, and animation.

Kwan and Scheinert had researched the concept of the multiverse as far back as 2010, and began penning the screenplay by 2016. Originally written for Jackie Chan, the lead role was later reworked and offered to Yeoh.[5][6] Principal photography ran from January to March 2020. The film's soundtrack features music composed by Son Lux, including collaborations with musicians Mitski, David Byrne, André 3000, and Randy Newman.

Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022, and began a limited theatrical release in the United States on March 25, 2022 before a wide release by A24 on April 8, 2022. It received widespread critical acclaim, with reviewers lauding its imagination, visual effects, humor, direction, editing, performances (in particular of Yeoh, Hsu, and Quan), and handling of themes such as existentialism, nihilism, and Asian-American identity. It grossed over $100 million worldwide, becoming A24's first film to do so and surpassing Hereditary (2018) as its highest-grossing film.

Plot

In China, years prior to the events of the film, Evelyn Quan Wang falls in love with Waymond Wang and, against her father's objections, elopes to the United States. The couple open a laundromat, and have a daughter, Joy, who becomes rebellious and begins to drift from the family as she reaches adulthood.

Part 1: Everything

Evelyn is a middle-aged Chinese American immigrant who runs a laundromat with Waymond. Tensions are high: the laundromat is being audited by the IRS, Waymond is trying to serve Evelyn divorce papers, Evelyn's demanding father Gong Gong[a] has arrived from Hong Kong, and Evelyn's lesbian daughter Joy wants her mother to accept her non-Chinese girlfriend, Becky.

At a fractious meeting with IRS inspector Deirdre Beaubeirdre, Waymond's body is briefly taken over by Alpha-Waymond, a version of Waymond from the "Alphaverse". Alpha-Waymond explains to Evelyn that many parallel universes exist as every life choice creates a new universe. The Alphaverse, led by the late Alpha-Evelyn, developed "verse-jumping" technology enabling people to access the skills, memories, and bodies of their parallel-universe selves by performing specific actions (usually weird and goofy ones). The multiverse is now threatened by Jobu Tupaki, the Alphaverse version of Joy. Her mind was splintered after Alpha-Evelyn pushed her to extensively verse-jump. Jobu now experiences all universes at once and can verse-jump and manipulate matter at will; she has created a black hole-like "everything bagel"[b] that threatens the multiverse.

Evelyn is given verse-jumping technology to fight Jobu's verse-jumping minions, now converging on the IRS building. She learns of Waymond's plans for divorce. She discovers other universes where she made different choices and flourished, such as becoming a kung fu master and Chinese movie star (and where Waymond is a successful businessman). Alpha-Waymond believes Evelyn, as the greatest failure of all Evelyns in the multiverse, has the untapped potential to defeat Jobu. Alpha-Gong Gong instructs her to kill Joy to stop Jobu from entering her universe, but she refuses. She decides to face Jobu by gaining the same power as Jobu (i.e., to verse jump without relying on technology) that she earns by repeatedly verse-jumping while chased by Jobu's minions and Alpha-Gong Gong's soldiers. Jobu locates and kills Alpha-Waymond in the Alphaverse. As Jobu approaches Evelyn, Evelyn's mind splinters and her body falls lifeless.

Part 2: Everywhere

Evelyn's detached consciousness verse-jumps to diverse universes, including one in which humans have hot dogs for fingers and she is in a romantic relationship with Deirdre, and another where she works alongside a teppanyaki chef, Chad, who is secretly puppeteered by a raccoon. She gets back to her home universe and confronts Joy to get Jobu to emerge. Jobu explains that she created the everything bagel to destroy herself, believing that as there are so many universes and unending chaos, nothing matters and she wishes to no longer exist. She has been searching for an Evelyn who can understand her choices and killing all versions who couldn't. On peering into the bagel, Evelyn is persuaded and begins to act nihilistically in her own universes, including signing the divorce papers in her home universe.

Evelyn is about to enter the bagel with Jobu and end all her multiverse lives but pauses upon hearing Waymond's pleas in another universe for everybody to stop fighting, be kind, and have hope—even in a universe where nothing makes sense. Evelyn changes her mind and begins to repair the damage in her other universes. She defeats Alpha-Gong Gong and Jobu's fighters by using her multiverse powers to find what is hurting each of them and bring them happiness. She then reaches Jobu and tells her that she is not alone and that Evelyn will always choose to be with her, despite everywhere else Evelyn could be. In her home universe, Evelyn confronts Gong Gong and reconciles with Waymond and Joy; Waymond convinces Deirdre to let the Wangs redo their taxes; Jobu and Evelyn reconcile and embrace.

Part 3: All at Once

The family's lives and relationships have improved; Becky is now accepted, Waymond and Evelyn share a romantic moment, and they return to the IRS building to refile their taxes. As Deirdre talks, Evelyn's attention is momentarily drawn to her alternate selves and the multiverse, before she grounds herself back in her home universe.

Cast

  • Michelle Yeoh as Evelyn Quan Wang, a dissatisfied and overwhelmed laundromat owner; and as several other versions of Evelyn in alternate universes.
  • Stephanie Hsu as Joy Wang, Evelyn's daughter; and Jobu Tupakia, Alpha-Evelyn's omnicidal daughter and a threat to the multiverse.
  • Ke Huy Quan as Waymond Wang, Evelyn's meek and goofy husband; and as Alpha-Waymond, from the Alphaverse; and other versions of Waymond in alternate universes.
  • James Hong as Gong Gong (Chinese 公公, "maternal grandfather"),[9] Evelyn's demanding father; and Alpha-Gong Gong, Alpha-Evelyn's father in the Alphaverse.
  • Jamie Lee Curtis as Deirdre Beaubeirdre, an IRS inspector; and as several other versions of Deirdre in alternate universes.
  • Jenny Slate as Debbie the Dog Mom, a laundromat customer.[c]
  • Harry Shum Jr. as Chad, a teppanyaki chef working alongside an alternative Evelyn in another universe.
  • Tallie Medel as Becky Sregor, Joy's girlfriend

Additionally, Biff Wiff appears as Rick, a laundromat customer; Sunita Mani and Aaron Lazar appear as actors in a musical film Evelyn watches; Audrey Wasilewski and Peter Banifaz appear as Alpha RV Officers; Daniel Scheinert appears as District Manager; and Andy Le and Brian Le appear as Alpha Trophy Jumpers.

Randy Newman, who has scored nine Disney–Pixar animated films, appears in an uncredited role as the voice of Raccacoonie, a reference to the Pixar-animated film Ratatouille (2007); he is officially credited as a featured artist on the track "Now We're Cookin'".[11] Dan Kwan has uncredited cameos as a man sucked into the bagel and a mugger.[12]

Production

Development and writing

Writer-directors Daniel Scheinert and Daniel Kwan

Co-directors Dan Kwan and Daniel Scheinert began researching the concept of the multiverse as early as 2010, after being exposed to the concept of modal realism in the documentary Sherman's March (1986).[8] Kwan described the release of the animated film Spider-Man: Into the Spider-Verse (2018), which also deals with a multiversal concept, as "a little upsetting because we were like, 'Oh shit, everyone's going to beat us to this thing we've been working on.'"[8] He also stated: "Watching the second season of Rick and Morty was really painful. I was like, 'They've already done all the ideas we thought were original!' It was a really frustrating experience. So I stopped watching Rick and Morty while we were writing this project."[8]

In early drafts of the screenplay, the directors planned for the main character to have undiagnosed attention deficit hyperactivity disorder (ADHD); through his research for the project, Kwan learned that he himself had undiagnosed ADHD.[13]

The alternate universe in which Evelyn trains in martial arts and becomes an action film star features scenes visually and contextually inspired by the films of Wong Kar-wai;[8] Chris Lee of Vulture writes that these scenes "conjur[e] a mood of exquisite romantic yearning that will be instantly recognizable [...] as touchstones" of Wong's works.[8] The universe in which Evelyn and Joy are rocks was influenced by the children's book Sylvester and the Magic Pebble (1969) and the video game Everything (2017).[8]

According to Kwan, the idea of the everything bagel "started as just a throwaway joke".[8] Scheinert noted that they spent time attempting to develop the religion of bagel followers, but encountered complications: "[Jobu Tupaki]'s a nihilist; should there be dogma? Should there be a book? What should their practices be as a religion? The bagel stuck because it became such a useful, simple symbol that we could point to as filmmakers. And you don't have to explain it much beyond the joke."[8]

Casting

Everything Everywhere All at Once marked Ke Huy Quan's return to acting since his retirement in 2002.

During pre-production, Jackie Chan was considered for the lead role; the script was originally written for him, before Kwan and Scheinert changed their minds and reconceived the role as a woman, feeling it would make the husband–wife dynamic in the story more relatable.[6]

When the script was rewritten with a woman as the lead, the character was initially named Michelle Wang; according to Michelle Yeoh, "If you ask the Daniels, when they started on this draft, they focused on, 'Well, we are doing this for Michelle Yeoh.'"[14] The character's name was eventually changed to Evelyn; despite the parallels in the final product between Yeoh and the universe in which Evelyn is a martial artist and film star,[15] Yeoh opposed naming the character Michelle because "Evelyn deserves her own story to be told. This is a very ordinary mother [and] housewife who is trying her best to be a good mother to her daughter, a good daughter to her father, a wife that's trying to keep the family together [...] I don't like to integrate me, Michelle Yeoh, into the characters that I play, because they all deserve their own journey and their stories to be told."[15]

It was announced in August 2018 that Yeoh and Awkwafina had been cast to star in what was described as an "interdimensional action film" from Kwan and Scheinert, with Anthony and Joe Russo attached to produce.[16] Awkwafina exited the project in January 2020 due to scheduling conflicts. Stephanie Hsu, James Hong, Ke Huy Quan, and Jamie Lee Curtis joined the cast, with Hsu replacing Awkwafina. It marked Quan's return to film acting, from which he had retired in 2002 due to a lack of casting opportunities.[17][18]

Filming

Principal photography began in January 2020, with A24 announcing that it would finance and distribute the film.[19] Much of the film was shot in Simi Valley, California.[20] Filming wrapped in early March 2020 during the onset of the COVID-19 pandemic in the United States.[21]

Themes

Everything Everywhere All at Once incorporates elements from a number of genres and film mediums, including black comedy, science fiction, fantasy, martial arts films, and animation.[22][23] A. O. Scott of The New York Times described the film as a "swirl of genre anarchy", explaining that "while the hectic action sequences and flights of science-fiction mumbo-jumbo are a big part of the fun (and the marketing), they aren't really the point. [The movie is] a bittersweet domestic drama, a marital comedy, a story of immigrant striving and a hurt-filled ballad of mother-daughter love."[24]

The film explores the concepts of the meaning of life and nihilism; according to Charles Bramesco of The Guardian, "The bagel of doom and its tightening grip on Evelyn's daughter lend themselves to the climactic declaration that there's nothing worse than submitting to the nihilism so trendy with the next generation. Our lone hope of recourse is to embrace all the love and beauty surrounding us, if only we're present enough to see it."[25] This nihilism is also explored through the film's exploration of Asian-American identity. Anne Anlin Cheng wrote in The Washington Post: "It's not only that the multiverse acts as a metaphor for the immigrant Asian American experience, or a convenient parable for the dislocations and personality splits suffered by hyphenated (that is, "Asian-American") citizens. It also becomes a rather heady vehicle for confronting and negotiating Asian-pessimism", a term she uses in reference to Afro-pessimism.[26]

Consequence's Clint Worthington wrote that "for all its dadaist absurdism and blink-if-you-miss-it pace, Daniels weaves the chaotic possibilities into the multiverse into a cohesive story about the aches and pains of the road not traveled, and the need to carve out your own meaning in a meaningless universe".[27] Describing Jobu Tupaki's modus operandi, Worthington notes "the living contradiction that is the everything bagel: if you put everything on a bagel, what more is left? And if you've experienced everything that the multiverse can offer, what's the point of any of it?"[27] Kwan said that the everything bagel concept "did two things. It allowed us to talk about nihilism without being too eye roll-y. And it creates a MacGuffin: a doomsday device. If in the first half of the movie, people think that the bagel is here to destroy the world, and in the second half you realize it's a depressed person trying to destroy themselves, it just takes everything about action movies and turns it into something more personal."[8]

The film engages textually and metatextually with the "real world" of the viewer.[28][29] Critics have noted that one version of Evelyn—a famous martial arts movie star—is a portrayal of Yeoh herself,[29][5][30] that Ke Huy Quan's experience as a stunt coordinator is used diegetically in Waymond's fight scenes,[31] and that James Hong's transformation into "a more sinister, English-fluent, Machiavellian strategist" parallels his character Lo Pan in Big Trouble in Little China (1986).[28][32]

Music

Main article: Everything Everywhere All at Once (soundtrack)
Experimental band Son Lux composed the film's score.

The musical score was composed by Son Lux, whose members are Ryan Lott, Ian Chang, and Rafiq Bhatia.[33] Daniels asked them to approach the score individually, and not as a band. Lott said, "I think that the complete picture of not only who we are as a band, but also who we are as individuals and what we have accomplished and the places we've gone creatively individually, meant for them that there was a possibility that many of these universes of sound could be within reach with this particular trio".[34]

Son Lux took two to three years to compose the score, which includes more than a hundred musical cues.[35] The soundtrack album consists of 49 tracks and runs for more than two hours. It features several prominent musicians,[36] including Mitski, David Byrne, a flute-playing André 3000, Randy Newman, Moses Sumney, and yMusic.[37][11] Two songs—"This Is a Life" featuring Mitski and Byrne[38] and "Fence" featuring Sumney—were released as singles on March 4 and 14, 2022.[39] The album was released on March 25 to positive critical response.[40][41]

Release

Theatrical

Everything Everywhere All at Once had its world premiere at the South by Southwest film festival on March 11, 2022.[42] It had a limited release in theaters on March 25, 2022,[43] followed by a nationwide release on April 8, in the United States by A24.[44] On March 30, 2022, the film was released in select IMAX theaters in the U.S. for one night only. Due to the popularity of the film, it returned to select IMAX theaters for one week starting on April 29, 2022.[45][46] The film was not released in most parts of the Middle East, including Saudi Arabia and Kuwait, due to censorship of LGBT issues in those countries.[47] The film was released in the United Kingdom on May 13, 2022.[48] The film was scheduled to be re-released in US theaters on July 29, 2022, unchanged but adding an introduction by the Daniels and eight minutes of outtakes after the credits.[49][50]

Home media

The film was released on digital streaming platforms on June 7, 2022, and was released on Blu-ray, DVD, and Ultra HD Blu-ray on July 5, 2022, by Lionsgate Home Entertainment.[51][52]

Reception

Box office

Everything Everywhere All at Once grossed $70 million in the United States and Canada and $31.3 million in other territories, for a worldwide total of $101.3 million.[3][4]

In the United States and Canada, it earned $509,600 from ten venues in its opening weekend. Its debut had a theater average of $50,965, the second-best since the start of the COVID-19 pandemic for a platform release (behind Licorice Pizza) and the then-best opening theater average in 2022.[53] In its second weekend, the film grossed $1.1 million from 38 theaters, finishing ninth at the box office.[54] It received a wide expansion in its third weekend, going from 38 to 1,250 theaters.[55][56] It made $6.1 million, finishing sixth at the box office.[57][58] Playing in 2,220 theaters the following weekend, it earned $6.2 million, finishing fourth.[59] In its sixth weekend, it added $5.5 million, part of which was attributed to a wider IMAX release following its successful box office run up to that point.[22] It added $3.5 million in its seventh weekend,[60] and another $3.3 million in its eighth.[61] By May 21 it had made over $51 million, surpassing Uncut Gems ($50 million) as A24's highest-grossing film domestically.[62] By June 9 it had made over $80 million, surpassing Hereditary ($79 million) as A24's highest-grossing film of all time.[63] It remained in the box office top ten before dropping out in its sixteenth weekend (ending on July 10).[64] On July 31, the film crossed the $100 million mark worldwide, the first independent film of the pandemic and in A24's history to do so.[65]

Outside of the U.S., other top-earning territories as of July 31 were: the United Kingdom ($6.2 million), Canada ($5.1 million), Australia ($4.5 million), Russia ($2.4 million), Taiwan ($2.3 million), Mexico ($2 million), Hong Kong ($1.7 million), Germany ($1.5 million), and the Netherlands ($1.1 million).[65]

Critical response

Many critics called Michelle Yeoh's performance the best of her career.

On the review aggregator website Rotten Tomatoes, the film has an approval rating of 95% based on 344 reviews, with an average rating of 8.6/10. The website's consensus reads: "Led by an outstanding Michelle Yeoh, Everything Everywhere All at Once lives up to its title with an expertly calibrated assault on the senses."[66] On August 26, 2022, Rotten Tomatoes users voted Everything Everywhere All At Once as "A24's Best Film of All Time" in their A24 Showdown.[67] Metacritic, which uses a weighted average, assigned the film a score of 81 out of 100, based on 54 critics, indicating "universal acclaim".[68] Audiences polled by PostTrak gave it an 89% positive score, with 77% saying that they would definitely recommend it.[57]

David Ehrlich of IndieWire called it an "orgiastic work of slaphappy genius", praising the direction and performances, particularly Yeoh's.[69] The Hollywood Reporter's David Rooney called it a "frenetically plotted serve of stoner heaven [that] is insanely imaginative and often a lot of fun", complimenting the cast and score but found the handling of the story's underlying theme underwhelming.[70] In her review for RogerEbert.com, Marya E. Gates commended Yeoh's performance, writing: "Yeoh is the anchor of the film, given a role that showcases her wide range of talents, from her fine martial art skills to her superb comic timing to her ability to excavate endless depths of rich human emotion often just from a glance or a reaction."[71] Charles Bramesco, writing for The Guardian, complimented the Daniels for constructing a "large, elaborate, polished and detailed expression of a vision".[25] Amy Nicholson of The Wall Street Journal wrote: "Over its nearly two-and-a-half-hour running time, the movie's ambitions double, and double again, as though it's a petri dish teeming with Mr. Kwan and Mr. Scheinert's wildest ideas."[7]

In her review for Vanity Fair, Maureen Ryan highlighted Yeoh's performance, writing: "Yeoh imbues Evelyn with moving shades of melancholy, regret, resolve and growing curiosity" and adding that she "makes her embrace of lead-character energy positively gripping".[72] Adam Nayman of The Ringer referred to the film as "a love letter to Yeoh", adding: "Everything Everywhere All At Once is extremely poignant, giving its 59-year-old star a chance to flex unexpected acting muscles while revisiting the high-flying fight choreography that made her a global icon back in the 1990s".[73] In his review for Chicago Sun-Times, Jake Coyle wrote that though Everything Everywhere "can verge on overload, it's this liberating sense of limitless possibility that the movie leaves you filled with, both in its freewheeling anything-goes playfulness and in its surprisingly tender portrait of existential despair".[74]

Dissenting reviews include those of Richard Brody for The New Yorker, who dismissed it as a "sickly cynical feature-length directorial pitch reel for a Marvel movie",[75] and Keith Garlington, who noted that while the film was an ambitious task, the film "often gives way to overindulgence making this overlong and overstuffed genre stew a well-meaning but exhausting experience".[76]

Letterboxd announced that it had briefly become the highest-rated film of all time on the site, surpassing The Godfather and Parasite.[77] As of September 2022, it remains in the top 15.[78]

Accolades

Accolades received by Everything Everywhere All at Once
Award Date of ceremony Category Recipient(s) Result Ref.
SXSW Film Festival March 2022 Adobe Editing Award Paul Rogers Won [79]
Hollywood Critics Association Midseason Film Awards July 1, 2022 Best Picture Everything Everywhere All at Once Won [80]
Best Director Daniel Kwan and Daniel Scheinert Won
Best Actress Michelle Yeoh Won
Best Supporting Actor Ke Huy Quan Won
Best Supporting Actress Jamie Lee Curtis Nominated
Stephanie Hsu Won
Best Screenplay Daniel Kwan and Daniel Scheinert Won
Best Indie Film Everything Everywhere All at Once Won
Amanda Awards August 20, 2022 Best Foreign Film Won [81]
Saturn Awards October 25, 2022 Best Fantasy Film Won [82][83]
Best Actress Michelle Yeoh Won
Best Supporting Actor Ke Huy Quan Won
Best Supporting Actress Stephanie Hsu Nominated
Best Writing Daniel Kwan and Daniel Scheinert Nominated
Best Editing Paul Rogers Nominated
Best Production Design Jason Kisvarday Nominated
Best 4K Special Edition Film Release Everything Everywhere All at Once Won
Hollywood Music in Media Awards November 16, 2022 Best Original Score in an Independent Film Son Lux Pending [84]
Best Original Song in an Independent Film Ryan Lott, David Byrne and Mitski ("This is a Life") Pending
Best Music Supervision — Film Bruce Gilbert Pending
Gotham Independent Film Awards November 28, 2022 Best Feature Everything Everywhere All at Once Pending [85]
Outstanding Lead Performance Michelle Yeoh Pending
Outstanding Supporting Performance Ke Huy Quan Pending
British Independent Film Awards December 4, 2022 Best International Independent Film Daniel Kwan, Daniel Scheinert, Jonathan Wang, Joe Russo, Anthony Russo, Mike Larocca Pending [86]

Notes

  1. ^ Chinese: "maternal grandfather" (see 公公).
  2. ^ A play on a type of American bagel called an "everything bagel", which is baked with a large variety of toppings; in the film, the "everything bagel" is topped with "literally everything"[7] in the multiverse that appears as a pulsating toroid singularity.[8]
  3. ^ Debbie the Dog Mom's original name ("Big Nose") was changed for the film's digital release because of its association with Jewish stereotypes.[10]

References

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  2. ^ Buchanan, Kyle (October 22, 2022). "'Everything Everywhere,' All Through Awards Season?". New York Times. Retrieved October 22, 2022.
  3. ^ a b "Everything Everywhere All at Once". Box Office Mojo. IMDb. Retrieved November 3, 2022.
  4. ^ a b "Everything Everywhere All at Once". The Numbers. Nash Information Services, LLC. Retrieved October 3, 2022.
  5. ^ a b "How Michelle Yeoh Took Jackie Chan's Role". The New York Times. April 12, 2022. Retrieved May 3, 2022.
  6. ^ a b Bergeson, Samantha (March 15, 2022). "Michelle Yeoh's Role in 'Everything Everywhere All at Once' Was Originally Written for Jackie Chan". IndieWire. Retrieved April 11, 2022.
  7. ^ a b Nicholson, Amy (March 24, 2022). "'Everything Everywhere All at Once' Review: A Maximal Take on the Absurd". The Wall Street Journal. Retrieved April 17, 2022.
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  34. ^ "How Son Lux Crafted the Eclectic and Expansive Score for 'Everything Everywhere All At Once'". Consequence. April 7, 2022. Retrieved May 22, 2022.
  35. ^ Giroux, Jack (April 8, 2022). "Everything Everywhere All At Once Composers Son Lux On Their Epic, 49-Track Score [Interview]". SlashFilm.com. Retrieved May 22, 2022.
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