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Post by Deleted on Apr 19, 2022 13:39:15 GMT
This was definitely an experience from start to finish. The acting from the entire cast was outstanding. Watching a very respected / serious actress like Michelle Yeoh letting loose was a blast to watch. I couldn't believe all the absurd shit she did in this wacky film with a great message. Kudos to Michelle Yeoh for being such a good sport. Some of the over the top action sequences went on a bit longer than they should have imo but this is from the same directors that made Swiss Army Man so I guess I shouldn't have been surprised at the absurdity of it all lol. Also, it was such a pleasant surprise to see the return of Ke Huy Quan who came out of retirement(best known for playing Short Round in Indiana Jones and the Temple of Doom and Data in The Goonies) And you better believe he puts his fanny pack to use in this film! I sincerely hope he gets a lot more roles moving forward because he was incredible in this. The editing for this film was utterly insane and really well done. As was the dialogue. It was very funny in parts and also very moving thru out with a great message. Highly recommend it!
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Post by Jep Gambardella on Apr 19, 2022 21:19:36 GMT
Wildest film I have seen in a very long time. It has to be seen to be believed - and I mean that in the most positive way possible.
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Post by lenlenlen1 on Apr 21, 2022 18:29:09 GMT
This was definitely an experience from start to finish. The acting from the entire cast was outstanding. Agreed! Very good movie with a lot of cool visuals, acting and sci-fi ideas. It was wonderful to see Michelle Yeoh, Ke Huy Quan, and Jamie Lee Curtis dive deep into absurdity. However... a bit long, and a bit too invested in being silly. Did there have to be action sequences with people with butt plugs in them? Did the villain have to attack people with penis sculpted dildos?
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Post by politicidal on Apr 21, 2022 19:25:18 GMT
Cool, I didn't know he was in this.
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Post by Fox in the Snow on Apr 22, 2022 1:39:08 GMT
Currently number one on Letterboxd, knocking off Parasite.
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Post by politicidal on May 15, 2022 16:46:23 GMT
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Post by Deleted on May 15, 2022 19:23:57 GMT
She makes a couple decent points (the cgi in a good amount of those MCU movies are really subpar looking especially considering their enormous budgets) but its honestly comparing apples to oranges here. I'm just relieved she didn't call any of the Russo brothers' MCU movies (would be pretty awkward considering they are producers of the film lol)
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Post by Deleted on May 15, 2022 19:26:25 GMT
This was definitely an experience from start to finish. The acting from the entire cast was outstanding. Agreed! Very good movie with a lot of cool visuals, acting and sci-fi ideas. It was wonderful to see Michelle Yeoh, Ke Huy Quan, and Jamie Lee Curtis dive deep into absurdity. However... a bit long, and a bit too invested in being silly. Did there have to be action sequences with people with butt plugs in them? Did the villain have to attack people with penis sculpted dildos? Yeah pretty much agreed. It did drag near the end and whenever it featured a potentially moving/serious acting scene between the leads, it immediately jumps back to a bunch of weird/ wacky shit happening for the sake of some cheap laughs (which was pretty annoying at times)
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Post by politicidal on Jul 4, 2022 13:03:17 GMT
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Post by hi224 on Jul 4, 2022 13:19:36 GMT
I'd prefer no sequels at all. It'll lessen many aspects of the first as well.
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Post by spooner5020 on Jul 4, 2022 13:48:48 GMT
I must have missed something with this movie. Everyone kept hyping it, but this was a really overrated movie. It wasn’t as funny as people made it out to be, just weird. The mother and daughter story has been told to death. The action was ok.
The only good things I can think of are that the actors were really good, the Raccoon joke was funny and that was it. 5/10
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Post by Fox in the Snow on Aug 13, 2022 6:47:11 GMT
Inventive and enjoyable, but a little to quirky and maximalist for its own good, or at least for mine. The denouement also seemed a little lacklustre and inconsequential. I did appreciate the WKW reference though.
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Post by joekiddlouischama on Aug 20, 2022 6:22:54 GMT
I viewed Everything Everywhere All at Once twice in the theater, over three months apart—which says something about the film's shelf life and surprising success. The first time, I deemed the movie "decent/mediocre," and on the second occasion I considered it "decent"—basically the same feeling, but since I was prepared for it this time, I found it slightly more favorable. But I basically see it as an average film.
The best part about it is the editing, which is dynamic and impressive—the editing of a couple of shots of an umbrella in an elevator, early on, especially stands out. The use of mise en scène is also commendable at times, and certainly all the stunts and effects are skillful. Upon my second screening, I came to better appreciate the coordination, deftness, and dexterity of those elements. And I appreciate the idea of rendering internal chaos and psychology "external," as if we could physically manifest the swirling tumult inside people's minds and hearts. But as some other posters have already indicated, this approach becomes overdone and overwrought, compromising the film's moral and philosophical concerns and leaving Everything Everywhere All at Once imbalanced.
Granted, there is nothing original about those moral and philosophical concerns—a midlife crisis movie, wondering what could have been, contemplating whether one's life choices and path were for the best, whether one's progeny redeems a missed chance at celebrity. These concerns appear in films rather regularly, but still, they are wittily, engagingly, and humorously presented here. The movie features soul and metaphor (i.e. the bagel) and philosophical curiosity, even as it ultimately slides toward banal sentimentality. One just wishes, again, that these elements enjoyed more development, as opposed to the constant thrust toward quasi-Matrix-style hijinks, without the gravitas. Indeed, Everything Everywhere All at Once saps its potential for gravitas, almost as if it lacks full confidence and conviction in its thematic material and instead opts for flippancy and stylization as a means of distinguishing itself from other movies with this sort of subject matter. But while its cinematic crispness should be commended, one can argue that the film just goes overboard in its hyperkinetic approach. Conversely, more balance could have drawn out the movie's humanistic and allegorical potential.
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Post by joekiddlouischama on Aug 20, 2022 6:38:42 GMT
By the way, the film strikes me as an example of a movie that is at once too fast-paced and overlong ... sometimes the two can go together.
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Post by Nora on Aug 20, 2022 9:25:06 GMT
I viewed Everything Everywhere All at Once twice in the theater, over three months apart—which says something about the film's shelf life and surprising success. The first time, I deemed the movie "decent/mediocre," and on the second occasion I considered it "decent"—basically the same feeling, but since I was prepared for it this time, I found it slightly more favorable. But I basically see it as an average film. The best part about it is the editing, which is dynamic and impressive—the editing of a couple of shots of an umbrella in an elevator, early on, especially stands out. The use of mise en scène is also commendable at times, and certainly all the stunts and effects are skillful. Upon my second screening, I came to better appreciate the coordination, deftness, and dexterity of those elements. And I appreciate the idea of rendering internal chaos and psychology "external," as if we could physically manifest the swirling tumult inside people's minds and hearts. But as some other posters have already indicated, this approach becomes overdone and overwrought, compromising the film's moral and philosophical concerns and leaving Everything Everywhere All at Once imbalanced. Granted, there is nothing original about those moral and philosophical concerns—a midlife crisis movie, wondering what could have been, contemplating whether one's life choices and path were for the best, whether one's progeny redeems a missed chance at celebrity. These concerns appear in films rather regularly, but still, they are wittily, engagingly, and humorously presented here. The movie features soul and metaphor (i.e. the bagel) and philosophical curiosity, even as it ultimately slides toward banal sentimentality. One just wishes, again, that these elements enjoyed more development, as opposed to the constant thrust toward quasi- Matrix-style hijinks, without the gravitas. Indeed, Everything Everywhere All at Once saps its potential for gravitas, almost as if it lacks full confidence and conviction in its thematic material and instead opts for flippancy and stylization as a means of distinguishing itself from other movies with this sort of subject matter. But while its cinematic crispness should be commended, one can argue that the film just goes overboard in its hyperkinetic approach. Conversely, more balance could have drawn out the movie's humanistic and allegorical potential. even though i dont fully agree i always really like reading your thoughtfull analysis. you always point out something that seems like a small detail i havenr considered before but u can make me curious about it. like with the umbrella shots in this review. Now i wanna go back to see it again just so i can focus on the editing
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Post by politicidal on Mar 13, 2023 15:31:15 GMT
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Post by politicidal on Mar 16, 2023 0:38:05 GMT
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Post by Panther on Mar 18, 2023 14:30:35 GMT
Take out the crudity and some of the more absurd silly aspects of the action scenes and make them more intense, the film could have been better. I agree with this. The movie had a good premise with a good beginning and ending. But most of it was crude, silly, too much going on for me to be able to follow.
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