Everything Everywhere All at Once
- 2022
- Tous publics
- 2h 19min
Dans l'ascenseur menant au contrôle fiscal de leur laverie, Waymond, qui adopte un comportement bizarre, explique à sa femme qu'elle seule peut sauver l'univers en utilisant les aptitudes de... Tout lireDans l'ascenseur menant au contrôle fiscal de leur laverie, Waymond, qui adopte un comportement bizarre, explique à sa femme qu'elle seule peut sauver l'univers en utilisant les aptitudes de ses doubles provenant de mondes parallèles.Dans l'ascenseur menant au contrôle fiscal de leur laverie, Waymond, qui adopte un comportement bizarre, explique à sa femme qu'elle seule peut sauver l'univers en utilisant les aptitudes de ses doubles provenant de mondes parallèles.
- Réalisation
- Scénario
- Casting principal
- Récompensé par 7 Oscars
- 409 victoires et 396 nominations au total
- Security Guard
- (as a different name)
Résumé
Avis à la une
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.
But, last night I decided to sit down and finish watching it to see if it lived up to all of the hype and Oscar accolades...to me, it didn't.
Don't get me wrong, I do feel Mechelle Yeoh did a great job with this very complicated role, so perhaps she deserved it...but the rest of them, ehhhhhh maybe, maybe not so much.
This movie TOTALLY lost my husband, he just couldn't keep up with the different story-lines in different dimensions, and the fast-pace of jumping around from dimension to dimension often game me the "what in the world is going on" feeling. I get it....everything all at once, but sometimes way too much.
This movie, for me, didn't make sense at all until the last 20 minutes or so when, at that point finally, the writers basically spoon-fed the viewer the meaning of the movie, because (in my own personal opinion) even they knew people wouldn't get it on their own.
As for Jamie Lee Curtis, I also think she deserved her Oscar for this one. Hers was also a pretty complicated character in oh so many ways and a huge departure from many roles she has played.
So was this an Oscar worthy movie....eeeehhhh, not so much. Were there good performances? Yes. Was this an original movie? Yes, I can appreciate that too.
Was it over-hyped? Most definitely.
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.
"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.
1. The setting of this movie was indeed a more accurate representation of an Asian American household. The family dynamics sounds about right. I like that Asians are getting more spotlight.
2. The concept/theme of this movie is rather novel and therefore interesting. Although I think it could have been played out much more sophisticatedly.
3. The parent-child relationship is well portrayed. The perceived lack of validation from parents felt by the child, the poorly communicated love of the parent, the process of gaining awareness and emotional growth for both the parent and child is inspiring.
Things I didn't like 1. It is a very bizarre movie, you could even say chaotic. It's as if they tried to combine every single meaningless detail together and gave up filtering out what's actually worth or necessary to the main plot. Tried too hard to make it funny/original/emotional/relatable that it ends up being neither of those things very well.
2. The movie is also unnecessarily long.
Those two points combined makes this movie just a long, confusing, and sometimes boring mess. The novelty makes it watchable/bearable, but to me, it's nothing more than that.
Oscars Best Picture Winners, Ranked
Oscars Best Picture Winners, Ranked
Le saviez-vous
- AnecdotesAll the VFX for this film were done by 9 people, including the two directors, with the majority of the shots being done by a core group of 5 people. None of the VFX team went to school for VFX. They were all friends who taught themselves with tutorials they found online for free.
- GaffesAt around 5:50 various items of equipment and crew including the boom mic operator can be seen in the reflections of the launderette dryer glass doors.
- Citations
Waymond Wang: [subtitles] So, even though you have broken my heart yet again, I wanted to say, in another life, I would have really liked just doing laundry and taxes with you.
- Crédits fousWhispering voices speak throughout the end credits, seemingly coming from random universes, in random directions.
- Versions alternativesJenny Slate's character was originally referred to as 'Big Nose' in the theatrical release. Due to associations with Jewish stereotypes, the character's name was changed to 'Debbie the Dog Mom' in the credits for the digital and DVD/Blu-Ray releases.
- ConnexionsFeatured in Jimmy Kimmel Live!: Chris Pine/Ke Huy Quan/Wallows (2022)
- Bandes originalesLife Can Be So Delicious
Written by Daniel Kwan, Ryan Lott and Daniel Scheinert
Performed by Sunita Mani and Aaron Lazar
Meilleurs choix
- How long is Everything Everywhere All at Once?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- Todo En Todas Partes Al Mismo Tiempo
- Lieux de tournage
- 400 National Way, Simi Valley, Californie, États-Unis(IRS Building)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 14 300 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 77 191 785 $US
- Week-end de sortie aux États-Unis et au Canada
- 501 305 $US
- 27 mars 2022
- Montant brut mondial
- 143 412 671 $US
- Durée2 heures 19 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1