Todo a la vez en todas partes

At some point in the last decade, cinema collectively decided that more is more. More movement, more colour, more genres crammed into one film. This movie epitomises that philosophy: pure, unfiltered chaos masquerading as profundity. It's action, comedy, sci-fi, family drama, absurdist theatre, and a philosophy lecture, all happening at once. And yet, somehow, it still manages to feel empty.

There's no denying the technical ambition. The editing is frenetic, the cinematography playful, the performances fully committed. Michelle Yeoh is brilliant, and Ke Huy Quan's sincerity provides the emotional backbone. The sheer number of visual gags, rapid-cut fight sequences, and surreal concepts is impressive on paper. But the question is, does it all add up to something meaningful?

The film touches existential themes- nihilism, generational trauma, the overwhelming weight of infinite possibilities. But it never truly settles, because settling is not in its nature. Instead, it constantly shifts gears, throwing another absurd joke, another action sequence, another universe into the mix. The emotional beats are there, but they fight for space in a film that refuses to slow down.

And that's where it stumbles. There's a point where maximalism becomes a distraction rather than a tool. The over-reliance on absurdity starts to feel less like a creative choice and more like an avoidance tactic, style suffocating substance. The visual effects, while inventive, often look cheap. The action, initially exhilarating, overstays its welcome. The sentimentality, while heartfelt, struggles to resonate when surrounded by hot dog fingers and googly eyes.

Then there's the Oscars. Seven wins, including Best Picture, Best Director, and three acting awards. A historic sweep for a film that, for all its originality, still feels like an unconventional choice for such conventional recognition. Will it be remembered as a defining film of the decade, or as a momentary fascination? Hard to say. I can respect its meaning, I just found it difficult to get through without getting bored. Also not as emotional as it was painted out to be! 5.8/10.

Ok, the movie contains a lot, a lot. It contains impressive action, drama, SF, humor as well as numerous incredible scenes and shots. I give him a big plus for his incredible originality and idea. However, for me personally, the film was a little too much, to put it that way. In the context of the Oscars, it's also incredible to me that the film picked up so many important awards. Is this the best movie of the year?! Reading numerous reviews and comments, it's clear to me that I'm in the minority and that's why I'm surprised by all the hype surrounding the film. For some, this is even one of the best films ever made. Due to these expectations, I have to admit that the film did not impress me at all. It's not a problem for me to admit that it's up to me and that I can't understand the magnitude of the film, which will obviously be a cult classic tomorrow. But I am surprised that such a strange film won over so many people.

"Be kind, especially when you don't know what's going on."

If only we could recognize that those who combat us in life do so out of hidden pain, and fight them with kindness. If only we could accept our kids for who they are, and say supportive things from the heart instead of trying to mold them. If only we could be content with the life we have, and set aside the idea of the countless other lives we might have led, had we made different decisions along the way. If only we could see that the flipside to life being meaningless and everything ultimately being sucked into the abyss is the freedom that comes from that, that we can do anything with the time we've got.

Like the first word in its title, this film feels like everything. While watching it I thought Stephanie Hsu was everything too, but then again, so was Michelle Yeoh and Jamie Lee Curtis. The homage to Wong Kar-Wai with Ke Huy Quan making his enlightened speech is extraordinary, and the fact that James Hong was still getting it done at age 93 was wonderful. I also loved how both mother and daughter, troubled as they were with their upbringing, each found comfort in a kind and patient partner, and Tallie Medel's character was a nice touch.

The film threatens to go off the rails with its madcap multiverse hopping in the first part, but it's all a setup for the second part, which is incredibly powerful. It was impressive that it managed to be so entertaining along the way, with its fast-paced action and the wild ride it takes us on. It's one that rewards a rewatch to, as its full of little details and references. Just a great film, lots of fun, and from the heart.

I have trouble turning off my brain. Anxieties, worries, mundane to-dos, even positive things, sometimes feel like they're swirling around in a chaotic funnel cloud and I would like nothing more than to sit in physical and mental silence.

"Everything Everywhere All At Once" felt like the inside of my head. In a world of non-stop, 24/7 news, most of it bad, how is a person like me, who has trouble filtering out things that affect me directly from all of the other things that are just out there happening in general and over which I have no control, supposed to cope?

One answer is to decide that nothing matters anyway and give up caring. But that means deciding that my wife doesn't matter. And that my kids don't matter. And that art, and nature, and things that bring joy to my life, don't matter.

Another way is to decide that some things, ok maybe most things, don't matter, but that there are things that do, and those are the things that make it all worth it. I get to decide what those things are.

The first approach is nihilistic. The second approach is empowering. This film explores both approaches, and I was a sobbing mess at the end.

I will say there were times that I was a bit exhausted by this movie. It throws a lot on the screen and at the viewer, and occasionally it can't keep up with its ambitions. But this was mostly a home run.

Michell Yeoh does terrific work in this, but the MVP is Ke Huy Quan (Short Round from the "Indiana Jones" movies).

Grade: A.

Firstly I should say I thought the actors did put in some very good performances and I can see why they were nominated although as to whether they deserved to beat some of their competitors is another matter.

I have to say I found this film to be tedious and almost unenjoyable to watch. It feels like a film made for the TikTok generation - no overall coherence with nuggets of scenes rammed together. Is this a film I would ever bother watching again - absolutely not.

Yes it is different - in much the same way The Artist was (and who talks about that film anymore?) but that doesn't make it good. It aims for a profound message whilst its style is overwhelmingly superficial. It's a film with little artistic merit or dare I say beauty (I am talking about the scenes and cinematography here not the actors) and it definitely did not move me except to pray it was going to finish.

In short it barely ticks the boxes of what I'd consider to be essential criteria for a great movie. Maybe this is the first of a new wave of this type of film and I am not getting it but when it had finished I felt pretty much nothing.