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The word 'multiverse' is starting to work its way into the zeitgeist, mostly thanks to the work of Marvel projects like Spider-Man: No Way Home, and the upcoming Doctor Strange in the Multiverse of Madness. While those can be seen to push the limits of blockbuster storytelling, they don't hold a candle to the pure imagination of Everything Everywhere All At Once, the latest film from directing and writing duo Dan Kwan and Daniel Scheinert (who are credited as Daniels, and also helmed Swiss Army Man).

No Way Home mostly used its multiverse mechanics to tie several franchises together, offering up every big-screen version of Spider-Man in one movie. However, for all of its comic book action, it still remained in a familiar reality. Everything Everywhere All At Once chooses to go further, pushing its multiple universes beyond the boundaries of what audiences might be expecting. It's a fast-paced, hilarious, and emotional journey that delivers its heartfelt moments in the unlikeliest of places.

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At the center of the film is the Wang family, headed up by matriarch Evelyn (Michelle Yeoh). She and her husband, Waymond (Ke Huy Quan), own a laundromat, but are barely keeping up with their taxes. Their marriage is strained and on the brink of divorce. They also have a daughter, Joy (Stephanie Hsu) who, on the day of a big Chinese New Year's Party, brings her girlfriend to meet Evelyn's father (James Hong). Adding to all the family stress is the fact that the Wangs are being audited by the IRS, and must face off against a no-nonsense IRS agent (Jamie Lee Curtis, who is very clearly having a lot of fun).

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As if these real-life problems weren't enough, Evelyn is also contacted by a Waymond from another universe, who tells her that she must help save the multiverse from being destroyed by an all-powerful evil entity known only as Jobu Tupaki. This is where the movie really begins to shine, as it dives right into its sci-fi comedy elements head-on. Waymond reveals to Evelyn that she is able to link up to other versions of herself in other universes, allowing her to learn kung-fu, control her breathing like a professional singer, and wield knives like a hibachi chef.

Everything Everywhere All At Once gets silly in the best way possible. Many of its multiple universes are not that far off from Evelyn's, but some of them are so bizarre that it's enough to catch viewers off-guard. Much of the humor in the film is derived from Evelyn's confusion at what is happening and trying to master all of her multiversal skills. Yeoh, who has displayed a steady confidence in her roles in Crouching Tiger, Hidden Dragon, and more recently Shang-Chi and the Legend of the Ten Rings, does such a great job at playing a woman who is clearly in over her head. On top of normal Evelyn, she's also playing all of these other versions of her, one of whom, ironically, happens to be a famous martial arts movie star.

Similarly, Ke Huy Quan (who starred in two 80s classics as a kid: The Goonies and Indiana Jones and the Temple of Doom) does a masterful job alternating between a self-assured, strong version of Waymond and one who is desperately confused about all the weird stuff happening around him. His performance is heartfelt and grounded, and Quan has a real ability to foreground Waymond's emotional conflict without overplaying it.

It's hard to describe all the absolutely gonzo elements in this movie without giving too much away. It's best to go into it with as little knowledge of what's about to be seen as possible, as all the surprises and wild moments just land so well. Everything Everywhere All At Once has a truly anarchic spirit, letting its main universe be just as surprising and wild as any of the other ones. A glimpse into another universe is just as likely to induce laughter as it is to deliver pure visual spectacle. For a film with a $25 million budget, this could stand up against almost any major blockbuster in terms of visual creativity and ingenuity. Yet, for all of its imaginative, sci-fi elements, there's still a big heart at the center of the story.

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Much like another movie that came out this year, Disney and Pixar's Turning Red, Everything Everywhere All At Once rests on the relationship between a mother and daughter (who, like the former, are also Chinese). Evelyn and Joy are not on the best of terms, but it's clear that both of them are trying. Evelyn is not disapproving of Joy's sexuality, but hides it from her elderly father. She also tends to lecture Joy about how she doesn't call enough, and even crudely comments on her weight. Kwan and Scheinert's script smartly utilizes this familial friction to drive the plot, revealing that the Joy from another universe is, in fact, Jobu Tupaki, and she was driven to evil by her version of Evelyn pushing her too hard.

Stephanie Hsu really shines in her villain role, delivering as both an all-powerful, universe-jumping superbeing and a daughter who feels a deep disconnect from her mother. For all of her vast power, there's never any doubt that this is a person who has been hurt and is just looking for a way to make that emotional pain go away, no matter how drastic or destructive it is.

Everything Everywhere All At Once really puts its focus on Evelyn's tendency to distance herself from her family, and how it affects both Joy and Waymond. Through connecting to all the other versions of herself, Joy is able to see how her life might have played out in a variety of different scenarios, some of which don't include marrying Waymond or having Joy. These emotional beats just so happen to coincide with absurd action and multiple universes (one of which delivers a truly hilarious visual gag involving millions of years of evolution and fingers). The fact that Kwan and Scheinert are able to ground such a human story in so much imaginative imagery is a testament to their skills.

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There is a bit of a hitch in the film's third act, where it sometimes seems like it's all too much to wrap up neatly. Trying to resolve both the grounded human story of the Wang family, along with trying to save every universe in existence, results in a somewhat muddled climax. However, the film sticks the landing and results in a satisfying finale.

For all the claims that blockbuster movies, and particularly superhero movies, are edging out more creative endeavors, Everything Everywhere All At Once proves that there are still unique projects out there; movies that can truly surprise an audience, make them laugh, gasp, and cry all in one package. Ironically, the movie has something of a Marvel pedigree, counting among its producers the Russo brothers and Sarah Halley Finn as its casting director. Still, Everything Everywhere All At Once is a breath of fresh air; an indie movie that feels like a blockbuster, a multiverse-hopping sci-fi action comedy with a true emotional core. Audiences should feel lucky they live in a universe where they can see this movie.

Everything Everywhere All At Once is now playing in theaters.

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