critical in the true multiverse of madness

critical in the true multiverse of madness

critical in the true multiverse of madness

Taxes and dragon

Evelyn Wang starts her day very badly in the family laundry. Her husband Waymond is considering her divorce, her daughter resents him for not accepting her girlfriend, and her father is visiting the United States, carrying in his luggage all the blame he can throw in his face. to her son.

However, all of this is ultimately just a small thing in the face of the tax adjustment that awaits heroin. What Evelyn still doesn’t know is that her arrival in the cold and impersonal offices of the tax inspectors will become one. scene of a breach in the Multiverse. Yes, this same multiverse that is used by pop culture to justify almost everything and nothing, overwhelming metaphysical impulses of Rick & Morty to the infinite possibilities of “reset” of the Marvel script.

Everything everywhere all at once: photosCan you hear me, Yeoh?

Necessarily, All everywhere all at once it might seem phoned, even opportunistic, in his way of combining drama with the American trend of the Sundance festival and a narrative force with fashion. The surprise card of the film from across the Atlantic – which has enjoyed too rare a word of mouth to underline – is perplexing. We are facing a true contemporary phenomenon that comes out of the nails (all the more pleasant at a time when theaters are struggling to recover from Covid) or a simple stroke of marketing genius?

Fortunately, the Daniel Scheinert and Daniel Kwan (nicknamed the Daniels) feature quickly tipped the scales in favor of the former. Despite the staggering number of rules and concepts that allow Evelyn to connect to versions of herself in alternate dimensions, the duo of directors (already at the helm of Swiss army man) strives to maintain efficiency in the unfolding of his narrative, so as to never lose the viewer in avalanches of destitute techno bullshit.

Fortunately, moreover, since for the rest, All everywhere all at once does not give gifts. A thousand ideas follow each other every minute, from a discovery of editing to an absurd replica through a delusional gag, all within images that never stop changing format. It would be criminal to say too much about the pros and cons of the whole thing, let’s just say that kung fu comes in close contact with, among other things, the existential sci-fi movie and … sausage-fingered humans. The result could be exhausting. On the contrary, it couldn’t be more exciting.

Photo Michelle Yeoh“I have no friends. I have a family” – Dominic Toretto


At Large Screen, we rather enjoyed it Doctor Strange in the multiverse of madness, but we have to admit that Sam Raimi’s film disappoints as soon as it tries to get to the heart of its concept. Beyond a single sequence testing fun ideas, we otherwise only have a clean future where you have to cross at the red light (madness!).

In the face of such lukewarmness, Daniels’ feature film can only cause syncope in comparison. In the continuity of a single and unique movement, the creators enclose whole worlds and pass from one universe to another through games of connections and transitions that reveal the generosity of the project.

Michelle Yeoh, Jamie Lee Curtisfingers in adoration

Whether he enjoys parodying animation classics or making the funniest martial arts scenes in recent American cinema, All everywhere all at once takes the form ofa cultural pop potpourri always respectful and respectful of its models. The shock is reminiscent of that caused by the inventiveness of the Wachowskis during the premiere Matrix, and that’s probably not a coincidence. While the more unlikely actions help connect with other universes, Evelyn discovers that her original world is nothing more than a normative hyperreality, especially when she tries to extricate herself from relaxing offices like the ones Mr. Anderson worked in.

However, the feature film can also be compared to a more recent work, namely Three thousand years await you by Giorgio Miller. In both cases, the bulimic appetite for the clash of imaginary universes paradoxically refers to a project of the seventh art, and to a return to its fundamental principles. What is important is the connection between two images to create movement and two planes to make sense of this movement, in the midst of the global nonsense of life.

Everything everywhere all at once: photosThe world is made of stone

These foundations prove essential to the overall architecture of a film that ultimately leaves nothing to chance. Self All everywhere all at once might take pleasure in his crazy nature (and this is the case in very rare moments), never forgets that you need a strong emotional heart, which constantly redistributes cards. In the great existential void of the Multiverse, the Daniels always cling to their characters, even the most tertiary ones, to make their desires, their pains, their disappointments exist.

Each shot on a universe leads to its reverse shot, to the exploration of a blind spot that transforms each recurring gag into an overwhelming catharsis. Even when it comes to using an evocatively shaped trophy as an anal plug, the film treats its absurdities with a healthy first degree. The humanity he captures only becomes more surprising in its universality, evoking in turn family resentment, depression, the unspoken and the need to express love too often left mute.

PhotoKe 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 film’s half-size, which offers its magnificent actors the role of a lifetime, as revenge on an industry that has denigrated them. While Ke Huy Quan (Waymond) has always been reduced to Half-MoonIndiana Jones 2he’s more charismatic than ever as a tender husband or melancholy gentleman straight out of a Wong Kar-Wai movie.

Of course, All everywhere all at once it is first of all a declaration of love to Michelle Yeoh, thanks to a camera that never ceases to sublimate the finesse of his game and his martial skills, which are still as impressive as ever. The actress of Tiger and Dragon suddenly it becomes something more, and through the delirium of the Daniels embodies a metonymy of the Hong Kong cinema of the past.

Photo Li Jing, Michelle YeohMonte Santa Michele

Here too, we think of Neo’s first adventures, but with a more bittersweet aspect, which evokes the swan song of a certain idea of ​​cinema. If Evelyn goes back to the source of who she is, she is generally the feature film approach. She tries to close the circle around her referents, so much so that she uses the figure of the circle as a recurring motif, from the washing machine basket to a certain donut.

All everywhere all at once it is all the more impressive and pleasant, as it always manages to land on its feet, like a miraculous cat (or Schrödinger) who would have been thrown from the top of a skyscraper. His overactive energy is not just an artifice. This is perhaps the best way to insert the feature film in a hitherto wild modernity, where the images are connected and respond to each other like so many swipes on the timeline of a social network. If the Multiverse is already starting to tire, the Daniels may have signed one of the definitive works on the subject.

Everything everywhere all at once: photos

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