Dan Kwan and Daniel Scheinert co-wrote, directed, and co-produced Everything Everywhere All at Once, a 2022 American absurdist science fiction comedy-drama film (collectively known as “Daniels”).
The film is a “swirl of genre anarchy,” with elements of black comedy, science fiction, fantasy, martial arts cinema, and animation.
Kwan and Scheinert began researching the multiverse concept in 2010 and writing the screenplay in 2016. The lead part was originally created for Jackie Chan, but it was later revised and presented to Yeoh.
Prior to the commencement of the COVID-19 pandemic in the United States, principal photography began in January 2020 and concluded in March. Son Lux composed the soundtrack for the film, which includes collaborations with performers Mitski, David Byrne, and André 3000.
- Michelle Yeoh as Evelyn Quan Wang, a dissatisfied and overwhelmed laundromat owner
- Stephanie Hsu as Joy Wang / Jobu Tupaki, Evelyn and Waymond’s daughter and a threat to the multiverse
- Ke Huy Quan as Waymond Wang, Evelyn’s meek and goofy husband
- James Hong as Gong Gong (Chinese 公公, “maternal grandfather”),
- Jamie Lee Curtis as Deirdre Beaubeirdre,
- Tallie Medel as Becky Sregor, Joy’s girlfriend
- Jenny Slate as Debbie the Dog Mom / “Big Nose”, a laundromat customer.
- Harry Shum Jr. as Chad, a teppanyaki chef working alongside Evelyn in an alternate universe
- Biff Wiff as Rick, a laundromat customer
- Sunita Mani as TV Musical Queen
- Aaron Lazar as TV Musical Soldier
- Audrey Wasilewski and Peter Banifaz as Alpha RV Officers
- Daniel Scheinert as District Manager
- Andy Le and Brian Le as Alpha Trophy Jumpers
When reality is shattered by an interdimensional rupture, an unlikely hero must use her newfound abilities to combat odd and perplexing multiverse threats while the world’s fate hangs in the balance.
The film offers a lovely representation of the blending of American and Chinese cultures. We see an immigrant family struggle to make ends meet and bond with one other in films like ‘Minari.’
The members’ disconnection is reminiscent of the ‘Ghost Town’ story, in which outsiders arrive in a foreign area and are unable to find their way. There are some startling remarks on Gen Z’s innate nihilism, identity problem, fragmented relationships, and the existential convergence of all of these difficulties.
The encounter, on the other hand, is neither meditative – at least on the surface – nor burdened down by the subject matter’s melancholy content. Instead, it manifests itself in the shape of a complex multiverse craziness that is as entertaining as it is ludicrous and touching.
Everything Everywhere All at Once Box Office Collection:
|Domestic||Mar 25, 2022||$501,305||$54,313,642|
Europe, Middle East, and Africa
|United Kingdom||May 13, 2022||$835,501||$2,381,332|
|Germany||Apr 29, 2022||$126,530||$698,670|
|Netherlands||May 19, 2022||$184,624||$268,877|
|Portugal||Apr 7, 2022||$16,321||$84,850|
|Hungary||Apr 21, 2022||$20,256||$78,878|
|Iceland||Apr 15, 2022||$3,904||$30,726|
|Lithuania||Apr 29, 2022||$7,135||$19,174|
|Poland||Apr 15, 2022||–||$14,848|
|South Africa||May 13, 2022||$6,107||$14,150|
|Slovenia||May 19, 2022||$2,801||$2,913|
|Croatia||Apr 14, 2022||$766||$2,099|
|Russia/CIS||Apr 6, 2022||$350,539||$2,127,934|
|New Zealand||Apr 14, 2022||$55,931||$388,370|
- Michelle Yeoh’s performance has been dubbed the best of her career by many commentators.
Everything Everywhere All at Once has grossed $57.5 million in the United States and Canada, and $9.1 million in other territories, totaling $66.6 million worldwide as of May 29, 2022.
- In its debut weekend in the United States and Canada, the film grossed an estimated $509,600 from 10 locations. Its debut had a theatre average of $50,965, which was the second-highest for a platform release since the COVID-19 pandemic began (after Licorice Pizza) and the best opening theatre average in 2022.
- The picture earned $1.1 million in its second weekend from 38 theatres, putting it in ninth place at the box office.
- In its third weekend, the picture was expanded to 1,250 theatres, up from 38 the previous weekend. It earned $6.1 million at the box office, placing it sixth. The next weekend, it grossed $6.2 million in 2,220 theatres, placing it fourth.
- The picture earned $5.5 million in its sixth weekend, thanks in part to a wider IMAX release following its stellar box office run. It earned $3.5 million in its seventh weekend and $3.3 million the following weekend.
- By May 21, the picture had surpassed Uncut Gems ($50 million) as A24’s highest-grossing domestic film.
- With an increase of $3.1 million in its ninth weekend, the film witnessed a minor dip of 5.5 percent.
- “Led by an exceptional Michelle Yeoh, Everything Everywhere All at Once lives up to its title with an expertly calibrated assault on the senses,” the web site’s consensus reads. Based on 54 reviews, Metacritic gave the film 81 out of 100 scores, signifying “universal acclaim.”
- PostTrak polled its audience, and it had an 89 percent good response, with 77 percent stating they would certainly suggest it.
- IndieWire’s David Ehrlich praised the direction and performances, especially Yeoh’s, as “orgiastic works of slaphappy genius.”
- David Rooney of the Hollywood Reporter called it a “frenetically planned serving of stoner heaven [that] is wildly inventive and frequently a lot of fun,” praising the acting and score but finding the presentation of the story’s underlying topic disappointing.
- “Yeoh is the anchor of the film,” wrote Marya E. Gates in her RogerEbert.com review, “given a role that showcases her wide range of talents, from her fine martial art skills to her superb comic timing to her ability to excavate endless depths of rich human emotion often just from a glance or a reaction.”
- In an article for The Guardian, Charles Bramesco praised the Daniels for creating a “big, rich, polished, and detailed statement of a vision.”
- “Over its nearly two-and-a-half-hour running time, the movie’s ambitions double, and double again, as though it were a petri dish teeming with Mr. Kwan and Mr. Scheinert’s wildest ideas,” observed Amy Nicholson of The Wall Street Journal.
- Maureen Ryan praised Yeoh’s performance in her Vanity Fair review, saying, “Yeoh imbues Evelyn with stirring hues of melancholy, regret, resolve, and burgeoning interest,” and that she “makes her embrace of lead-character energy genuinely fascinating.”
- “Everything Everywhere All At Once is immensely emotional, offering its 59-year-old star a chance to develop unexpected acting muscles while reprising the high-flying battle choreography that made her a global celebrity back in the 1990s,” said Adam Nayman of The Ringer.
- Though Everything Everywhere “can verge on overload,” according to Jake Coyle’s Chicago Sun-Times review, “it’s this liberating sense of limitless possibility that the movie leaves you filled with, both in its freewheeling anything-goes playfulness and in its surprisingly tender portrait of existential despair.”