Michelle Yeoh plays an “astonishing array” of roles in EverythingEverywhere, writes MoRyan, “and these filmmakers understood she was the only woman on Earth that could have made this batshit ride actually work.”
premise to go broad and abandon subtlety. But the directors and Yeoh understand that the audience won’t buy into any of it unless Evelyn — all the Evelyns — are real, textured, intelligent people. The main Evelyn is not always likable and not always able to truly see her husband and her daughter Joy . This is largely because she’s allowed herself to be swallowed up by her responsibilities, which distract her, at least some of the time, from her lack of self-confidence and hope. .
One might wish for some streamlining here or there; some exposition is ungainly, and there are uneven moments that emanate the shaggy, indulgent bravado of ambitious film students fresh off a powerful bong hit.
is at least partly about not letting the forces of cynicism, isolation and hopelessness win. At the core of this wildly ambitious thrill ride, there are quite accessible ideas about connection, change and love. Those may be cornball sentiments. But it is not for this lowly mortal to tell Michelle Yeoh she’s wrong.
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