Everything Everywhere All at Once.

Review #1835: Everything Everywhere All at Once.

Cast: 

Michelle Yeoh (Evelyn Quan Wang), Stephanie Hsu (Joy Wang / Jobu Tupaki), Ke Huy Quan (Waymond Wang), James Hong (Gong Gong), Jamie Lee Curtis (Deirdre Beaubeirdra), Tallie Medel (Becky), Jenny Slate ("Big Nose"), Harry Shum Jr. (Chad), and Biff Wiff (Rick) Written and Directed by Dan Kwan and Daniel Scheinert.

Review: 

“We should be looking to a forward-looking multiverse, because right now this universe we’re in is on a very scary path. And the multiverse is actually a really beautiful, important metaphor for right now because we need to be looking at all the possibilities, not just the one that we think we’re in. And we definitely shouldn’t be looking backwards.”

You may or may not know the directing duo of "Daniels", comprised of two directors in Kwan and Scheinert, who met at Emerson College while studying film; they did a variety of stuff together, starting with two short films in Swingers (2009) and Puppets (2010), which can be found online. They did several other things together such as television episodes and music videos (such as for the song “Turn Down for What" by DJ Snake and Lil Jon) before they made their feature debut with Swiss Army Man (2016), which evidently involves a man and a farting corpse. Scheinert directed The Death of Dick Long (2019) solo, so this in effect makes this film Scheinert's third effort and second for Kwan. When they had shown Swiss Army Man to their parents and had numerous conversations about it, the reflections of the duo on their apparent need to make something so strange to go with the difficulty of their parents in understanding it that proved an inspiration. I had first heard of the film earlier last month, but it was only in the last week of April that I had the chance to see this film in my local theater (the result of a film that expanded from an initial limited release - go figure, expand a release and people like me might actually see it rather than flock to "streaming" like a defeated sheep), and it took little time to convince myself that this might be a useful curiosity to see.

As one imagines, sometimes you must sneak in sincerity under absurdity when it comes to a journey of finding balance and understanding within beautiful chaos. This is in a movie that involves hot-dog fingers and sentient rocks, for example. But describing things that happen to occur in a movie isn't exactly a succinct answer for a movie like this, one that threads itself carefully on the matter of choices, not so much just being a movie about multiple selves, since the "chosen one" to potentially save things is possibly just the one with the most failures, for example. It results in a movie that is a hodgepodge of genres fitting for its title - action, sci-fi adventure, thriller, coming of everything, black comedy...but it really can be construed as a movie of finding the middle ground between oblivion and meaning. Yes, it has a quick pace to action scenes at times, but it never loses sight of doing some philosophy to go along with things at the end. In the end, it results in a brilliantly messy movie that maneuvers its way through 139 minutes with a warm-hearted sense of self that may very well become a curiosity to watch again and again just to think about how far the rabbit hole can go. In other words: the key to everything in a movie about family strife happening everywhere all at once is communication, complete with a family triangle that is yearning to have things acknowledged by the other. In that sense, I applaud the movie for managing to not fall into the modern trap of trying to build itself so high only to fall on its own hype, or to put it in more blunt terms, not huffing its own supply and interrupting its own flow. As such, this seems just the right kind of movie ideal for Yeoh, one that requires an actress to put on many hats (as the expression goes) in being the key focus of an organic mold of melancholy and resolve that allows for both a flurry of action sequences alongside touching moments spent with either Hsu or Quan for family interest, whether that means trying to roll with the growing sense of genre anarchy or other things. You may remember Quan from his childhood roles in films such as Indiana Jones and the Temple of Doom (1984) and The Goonies (1985), but you might be surprised to hear that this is in fact his comeback feature, as he had actually stepped away from acting (due to a lack of opportunity for roles) for work behind the camera. It is evident fairly early that he has not lost a step here, since he proves quite endearing in keeping the balance of the film on the right level with kindness and charm in each of the three personalities he inhibits here (ranging from the husband wanting to sneak divorce papers for actual attention to the confident "Alpha" husband). Hsu provides the key center to the proceedings in terms of a family dilemma that essentially explodes into multitude family dilemma with suitable timing that taps well with Yeoh in expressing the doubts and fears that come within paths that could spring curiosity or nihilism (especially when one's trauma of disappointing a parent has sprung in two generations), and she balances well with the conflicts presented here for engaging drama that makes her a quality presence. The film is built on the main trio, but Curtis and Hong do partake in their own moments to share for interest that one would expect from veteran presences like them, whether that involves a dry auditor that draws a few amusing moments or an eccentric charmer, respectively. By the time the movie draws to its ending, it does so without becoming dripped in false notes, which works out when wanting to finish making a movie that uses the idea of a "multi-verse" as a metaphor that seems timeless and therefore right on target. Honestly, the rating for this film took a bit of time to think about, because it really is a fun time for anyone who wants to see something original in their movie experience that seems like a labor of love more than just a laborious experiment in filmmaking. It does so with a break-neck pace that rewards its viewers with a useful emotional journey that details the meaning of empathy in a weary world (or worlds, in this case) with the right cast to make a worthy adventure that may be one worth looking into again and again, a wonderfully messy mix of action and clarity. 

Overall, I give it 10 out of 10 stars.

Crouching Tiger, Hidden Dragon.

Review #1525: Crouching Tiger, Hidden Dragon.

Cast: 
Chow Yun-fat (Li Mu Bai), Michelle Yeoh (Yu Shu Lien), Zhang Ziyi (Jen Yu), Chang Chen (Lo 'Dark Cloud' / Luo Xiao Hu), Cheng Pei-pei (Jade Fox), Sihung Lung (Sir Te), Li Fazeng (Governor Yu), Gao Xi'an (Bo), Hai Yan (Madam Yu), and Wang Deming (Police inspector Tsai / Prefect Cai Qiu) Directed by Ang Lee.

Review: 
"Nothing stands still. That's important in my movies. People want to believe in something, want to hang on to something to get security and want to trust each other. But things change. Given enough time, nothing stands still. I think seeking for security and lack of security is another thing in my movies."

It always helps to broaden your horizons when it comes to movies. Ang Lee cultivated a place for himself as a respected international director through a long road from his birth in Taiwan to studying at both the National Taiwan University of Arts and the University of Illinois at Urbana-Champaign. His studies at each resulted in an interest for drama and arts (with a degree in theater to show for it at the latter), and study at New York University Tisch School of the Arts carried him into film (including an acclaimed thesis film). Despite all of this work in school, it took several years for him to find work in the film industry (where he wrote ideas and screenplays while being a house husband). He was given a chance to write and direct after submitting his work for a competition by the Government Information Office of Taiwan. The result was the martial arts comedy-drama Pushing Hands (1991), a Taiwan-United States production which he would direct and co-write. This was the first of six films he would do in the 1990s, which generally received positive notices from critics and fair audience returns with work such as The Wedding Banquet (1993, which finished second in the submission contest) and Sense and Sensibility (1995).

You don't need me to tell you that this was a great international success, because it most definitely made an impression on audiences in 2000, with over half of its $213 million box office earnings coming in America, resulting in it being known as the most successful non-English language film produced abroad in America (alongside numerous accolades, including an Academy Award for Best Foreign Language Film). This was a massive co-production that needed four countries and multiple production companies that ranged from Taiwanese Zoom Hunt International Productions Company to China Film Co-Production Corporation to EDKO Film (Hong Kong) to Sony Pictures Classics. This was adapted from the novel of the same name by Wang Dulu, who had written it as the fourth in his five-novel Crane-Iron Series (which were serialized from 1938 to 1944) for which Kuo Jung Tsai, Hui-Ling Wang and James Schamus (involved in Lee's films as writer or producer since Lee's first) were tasked to write a screenplay of. Lee had wanted to make a film like this ever since he was a child, and he had read the story in 1994 and was grabbed by the lead character of Jen and her story alongside its abundance of Chinese history and textures. Each country has their own cinema for which to hang their laurels on, but the wuxia genre (which translates to martial heroes) is very much tied to Taiwan, China, and Hong Kong in entertainment.

The diversity of accomplishment in such a production also serves to the cast, which has a majority of its main actors born from those three countries for a Mandarin language film (Yeoh was born in Malaysia and had to train for a year to learn Mandarin). Lee pitched the film to Yeoh as "Sense and Sensibility with martial arts", and it would seem each are perfect for each other in the film. What we have here is a fairly poetic movie in its sensibility that Lee wanted to present (in his own words) as "China of the imagination" that makes for a film of hidden strengths in its mix of Eastern and Western filmmaking that certainly makes for a fascinating experience of destiny and art. Hong Kong film icon Chow does a tremendous job here, having a great composure of integrity and stature that we see quite well in interest without needing platitudes to speak through. Yeoh (also a Hong Kong icon within action) has clearly worked just as hard in fitting with what is needed in strength and conviction in an role bound by loyalty and regret that is terrific. Zhang (a model-turned-actress in her third role at age 20) does wonders in wandering vulnerability that weaves in desire and arrogance with useful spirit that matters in generating meaningful drama between her and Yeoh in the differences that shape them in their lives and what they share in their obligations to society. Chang proves just as reliable in brimming charisma that go well enough when paired with Zhang. Cheng pulls in a soothingly bitter turn as the last main focus, doing well with her little story of counter reactiveness to her own history of repressed desires with others.

The diversity of accomplishment in such a production also serves to the cast, which has a majority of its main actors born from those three countries for a Mandarin language film (Yeoh was born in Malaysia and had to train for a year to learn Mandarin). Lee pitched the film to Yeoh as "Sense and Sensibility with martial arts", and it would seem each are perfect for each other in the film. What we have here is a fairly poetic movie in its sensibility that Lee wanted to present (in his own words) as "China of the imagination" that makes for a film of hidden strengths in its mix of Eastern and Western filmmaking that certainly makes for a fascinating experience of destiny and art. Hong Kong film icon Chow does a tremendous job here, having a great composure of integrity and stature that we see quite well in interest without needing platitudes to speak through. Yeoh (also a Hong Kong icon within action) has clearly worked just as hard in fitting with what is needed in strength and conviction in an role bound by loyalty and regret that is terrific. Zhang (a model-turned-actress in her third role at age 20) does wonders in wandering vulnerability that weaves in desire and arrogance with useful spirit that matters in generating meaningful drama between her and Yeoh in the differences that shape them in their lives and what they share in their obligations to society. Chang proves just as reliable in brimming charisma that go well enough when paired with Zhang. Cheng pulls in a soothingly bitter turn as the last main focus, doing well with her little story of counter reactiveness to her own history of repressed desires with others.

Any film that could have a fight high up into the trees and not seem reliant on CGI or tricks is clearly on the right track for greatness. Great hands of fighting need great choreographers, so enter Yuen Woo-ping, who is known for his direction as fight advisor and his own films since the 1970s that shifted from primarily working in Hong Kong (such as Snake in the Eagle's Shadow in 1978) to work in Hollywood with films such as The Matrix (1999); coincidentally, he would direct the sequel to this film sixteen years later (with Sword of Destiny adapting the fifth book). Its best sequence is likely the scene in the restaurant, one that showcases a display of fury against a whole group with great focus and action. It proves more than a martial arts film made to express a childhood goal, accomplishing a sweeping epic in what one sees and feels with its story that make its fights in the air all the more worthwhile to go along the rest. However one interprets its ending in where it leaps to close out a tale of poetry, it makes for a satisfactory closure of the circle that works in delivering tragedy on the scale of an epic without becoming bogged down in scope. With a pace of two hours, the film shuffles itself along with great air for engaging entertainment through a suitable cast, sweeping fights and music (through Tan Dun and occasional cello work from accomplished cellist Yo-Yo Ma), and an awareness for what makes a great epic come through with focus.

Overall, I give it 10 out of 10 stars.

Movie Night: Kung Fu Panda 2.

Review #486: Kung Fu Panda 2.

Cast
Jack Black (Po), Angelina Jolie (Tigress), Gary Oldman (Lord Shen), David Cross (Crane), Jackie Chan (Monkey), Seth Rogen (Mantis), Lucy Liu (Viper), Dustin Hoffman (Master Shifu), James Hong (Mr. Ping), Michelle Yeoh (Soothsayer), Danny McBride (Wolf Boss), Dennis Haysbert (Master Storming Ox), Jean-Claude Van Damme (Master Croc), and Victor Garber (Master Thundering Rhino) Directed by Jennifer Yuh Nelson.

Review
Naturally, there is a sequel, given the first film's massive success. The film take a somewhat darker turn, but it works well to the film's advantage. Jack Black once again is effective, and he certainly leaves a good impression. The rest of the cast, especially Gary Oldman do good, and Oldman arguably does a better job portraying a villain then Ian McShane in the first film. The story is fine, and the animation is good, especially the animation during the flashback scenes. The action is good, and the comedy is nice, and this is a very effective film that leaves you yearn for more, especially with that ending, which is always welcome with me.

Overall, I give it 8 out of 10 stars.

Movie Night: Tomorrow Never Dies.

Review #171: Tomorrow Never Dies.

Cast
Pierce Brosnan (James Bond), Jonathan Pryce (Elliot Carver), Michelle Yeoh (Colonel Wai Lin), Teri Hatcher (Paris Carver), Götz Otto (Richard Stamper), Ricky Jay (Henry Gupta), Joe Don Baker (Jack Wade), Vincent Schiavelli (Dr. Kaufman), Judi Dench (M), Desmond Llewelyn (Q), and Samantha Bond (Miss Moneypenny). Directed by Roger Spottiswoode.

Review
This is the 18th James Bond film, released 15 years ago in 1997. Anyway, the last time we saw Bond was reviews ago with a different person (#150 - Dr. No) Brosnan does a fine job in his second film in the role (First being GoldenEye) Pryce is decent, as this villain is more plausible then usual, compared to villains from before (A man with metal claws, a man that loves gold, and more, including Christopher Walken) The rest of the cast is decent, doing their jobs as any other cast tries to do in a Bond film. The story is decent with reasonably alright action and gadgets. This film isn't a great one, but it is a decent one.

Overall, I give it 007 out of 10 stars.