As a love letter to Michelle Yeoh, Everything Everywhere All At Once gave its 59-year-old star a chance to flex unexpected acting muscles while revisiting the high-flying fight choreography that made her an international icon in the 1990s.
The Daniels have constructed an elaborate, polished and detailed expression of their vision. The movie’s ambitions double, and double again, giving expressions to Kwan and Scheinert’s wildest ideas.
Though the movie is overlong and occasionally overload, it does show a liberating sense of limitless possibility, both in its freewheeling anything-goes playfulness and in its tender portrait of existential despair.