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For all its fantasy trappings, this is a film with down-to-earth concerns: mothers and daughters, husbands and wives, coming of age and coming out, dreams and disappointments, otherness and belonging, generation gaps and information overloads.

Everything Everywhere All at Once exists in the outer wilds of the imagination, in the realm of lucid dreaming and liminal spaces... With Everything Everywhere All at Once, these filmmakers have fully hit their stride.

It’s a wild tonal ride, from cartoonish ultraviolence to plaintive whimsy: think James Cameron at Dunder Mifflin, Tex Avery on TikTok or Gaspar Noé in Ann Summers, with dashes of Wachowski, Kubrick, Pixar, Wong Kar-Wai and Charlie Kaufman too. The cast are on point amid the cacophony, Hong and Curtis showing particular gusto.

Paying tribute to the vast repertoire of Hollywood classics and world cinema, Everything Everywhere All at Once strikes an immaculate balance between mind-blowing originality and nostalgic cinephilia.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

But even if you walk away from Everything, Everywhere feeling you’ve just endured a cluttered, exhausting mess, Yeoh’s dazzling charm remains undimmed. Daniels may not be your kind of filmmakers—they’re probably not mine—but anyone who creates this kind of showcase for Yeoh earns a gold star in this universe, or in any other.

Yeoh is the anchor of the film, 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. She is a movie star and this is a movie that knows it.

[N]o one makes films that look like the Daniels’. The opening sequences prove that they can make even the most mundane environments seem bright and kinetic... But where they really excel is as great directors of characters, actors, and emotion.

Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.

What keeps Everything Everywhere All at Once from falling into a black hole of sprawling thought is its wonderful central performances, and the emotional through line that Yeoh and Quan follow amid all the chaos.

Yes, the movie is a metaphysical multiverse galaxy-brain head trip, but deep down — and also right on the surface — it’s a bittersweet domestic drama, a marital comedy, a story of immigrant striving and a hurt-filled ballad of mother-daughter love.

With its bland and faux-universal life lessons that cheaply ethicalize expensive sensationalism, the film comes off as a sickly cynical feature-length directorial pitch reel for a Marvel movie.