#Speed demons big heads movie
This is a movie without an ounce of cynicism in its narrative bones. We see the waxing and waning of love and the sometimes-trying dynamics of families and can only marvel at the absence of hipster detachment with which they're presented. Given the movie's crazed pace, which is exhausting over the course of more than two hours, its unexpected tenderness comes as a surprise. In the midst of all this interdimensional chaos, Evelyn checks in with the original Waymond: "I saw my life without you," she says. There's also a Bollywood universe, and some kind of pizza world, and - one of the film's most endearing interludes - a world with no people in it at all: only a pair of rocks snuggling on a slope. We see her wielding a scary-big knife at a Benihana-style steakhouse and swanning around at the glittery premiere of a new martial-arts movie in which she stars.
"I've seen you die a thousand ways," he says.Įvelyn soon finds herself whipping through dimensions on a madly edited tour of all the alternative lives she might have lived but didn't. This version of her husband tells Evelyn that she's in the crosshairs of "a great evil" - an entity called Jobu Tupaki. Evelyn is riding up in an elevator with Waymond when he suddenly morphs into another person - well, another Waymond. During a dismal visit to an IRS office, something strange happens. There are tax troubles, for one thing, and Waymond wants a divorce. Maisel"), and, at the moment, her ancient father, Gong Gong (the great James Hong). Evelyn runs a coin-op laundry in suburban LA with her husband, Waymond (onetime Goonie and Indiana Jones sidekick Ke Huy Quan), her daughter, Joy (Stephanie Hsu, "The Marvelous Mrs. This unsuspected multiverse is revealed one day to a frazzled Chinese American woman named Evelyn Wang (the ageless Hong Kong action queen Michelle Yeoh). The motivating notion is that every choice made by every human being creates a "branching universe" - an alternate reality in which every rejected possibility takes root and flourishes, independent of the originating human's existence, which of course continues on. But "Everything" is vastly more complex - or complicated, anyway. Their debut feature, the 2016 "Swiss Army Man" - the story of a fart-propelled corpse, played by Daniel Radcliffe - was no run-of-the-mill affair either. It is not entirely surprising that this is a picture by Dan Kwan and Daniel Scheinert, who write and direct together under the name Daniels. Once you've absorbed the wild fanny-pack smackdown, the marauding bagel, and the sight of a monstrous Jamie Lee Curtis tearing down a door, you may be a little too tuckered to maintain excitement for the movie's other oddities - the puppy-flinging, the butt-plugging, the floppy hot-dog-fingered hands. There's so much going on in "Everything Everywhere All at Once" - and it goes on so relentlessly, and for so long - that after a while a kookiness overload begins to weigh it down.
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