‘Everything Everywhere All at Once’ Is Big Winner at the Oscars – The New York Times

By Brooks Barnes

• March 13, 2023Updated 2:51 a.m. ET

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“In the late 1960s, young cineastes shook up a moribund film industry by delivering idiosyncratic, startlingly original work. The moment became known as New Hollywood.

When film historians look back at the 95th Academy Awards, they may mark it as the start of a new New Hollywood. Voters honored A24’s head-twisting, sex toy-brandishing, TikTok-era “Everything Everywhere All at Once” with the Oscar for best picture — along with six other awards — while naming Netflix’s German-language war epic “All Quiet on the Western Front” the winner in four categories, including best international film.

The Daniels, the young filmmaking duo behind the racially diverse “Everything Everywhere All at Once,” won Oscars for their original screenplay and directing. (The Daniels is an oh-so-cool sobriquet for Daniel Kwan and Daniel Scheinert. They are both 35.) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honored for their performances.”

David Lindsay Jr.

Hamden, CT  NYT Comment:

I enjoyed the Oscars, and especially the work of the MC, Jimmy Kimmel, but went to bed at about the half-time, im honor of morning tennis. I will watch the rest very soon. I’m happy for Michelle Yeoh, she was my first choice for best actress, but then, I only saw five of the 10 movies nominated for best picture. Everything Everywhere, all at once was shockingly funny and entertaining, and yet, with plenty of pathos, and brilliant comedic martial arts. It could have been called, A Satire on Everything, including Jackie Chan Chinese Martial Arts comedies.

I saw Avatar, the way of water, Everything Everywhere, all at once, The Fabelmans, Elvis and Top Gun Maverick. I offer two of my own Oscars, I give an Oscar to Avatar, the way of water, for being the most environmentally concious movie of the year. It remains my favorite of the five I saw. I give an oscar to the most deserving film that was overlooked, to Talking Women. Everyone should see both of these films. They are both important on different but major topics. My Lady and I predict that Talking Women will grow in fame with the passing of time for its timeless discussion of women’s rights and responsibilites. The only oscar recipients who can receive full credit from me, an A+, besides for not being boring, must acknowledge that all the other contenders in their category were also worthy of recognition, so the real honor is to be in their company. It is important to remind the audience that many movies are so unique, it is a stretch to compare them to another which is of another type. David blogs at InconvenientNews.net

Mick LaSalle Review: Michelle Yeoh beats Marvel in the multiverse game in ‘Everything Everywhere All at Once’ | Datebook

Mick LaSalle March 21, 2022,  sfchonicle.com

“. . . .  Without question, “Everything Everywhere All at Once” is a remarkable piece of work, one of the most original and creative films of the past couple of years. It’s so much its own thing that it’s hard to imagine how it was ever put together — how it was conceived, written, filmed and edited. Directors Dan Kwan and Daniel Scheinert (known collectively as Daniels) had nothing to fall back on, no genre conventions, no established patterns. They made this one up on their own.

If the movie has one weakness, it’s that it’s not nearly as enjoyable as it is brilliant. A movie like this is a full meal, and after two hours and 12 minutes, viewers may start to feel as force-fed as a goose on a French farm. “Everything Everywhere All at Once” never slows down and never wastes the audience’s time, and yet it’s safe to say that no one will walk out of the theater wishing it were 10 minutes longer.

It stars Michelle Yeoh as Evelyn, a harried middle-aged woman trying to run a struggling laundry business. Her tax returns are being audited, and she feels that she’s not getting enough help from her sweet-natured husband (Ke Huy Quan). She tends to take her frustrations out on her lesbian daughter, Joy (Stephanie Hsu), whom she can’t stop criticizing for everything, including her weight.

In the early minutes, “Everything Everywhere All at Once” could be a Chinese film. It’s almost entirely subtitled, and it has the frenetic pace of a Chinese comedy. As it goes on, it never quite loses that feeling, but it broadens. On the elevator, heading to the IRS office, Evelyn is told by a messenger from another universe that she is the only person with the power to save all the millions of universes from chaos and destruction.

This notion of a multiverse is getting a lot of traction in recent movies, but “Everything Everywhere All at Once” does it more and does it better — way better than the Marvel movies. The idea here is that the various Evelyns collectively have all the talents and capabilities that this Evelyn needs to possess in order to fight a war single-handedly. She just has to get more adept at establishing a mental connection with each Evelyn as required.”

Source: Review: Michelle Yeoh beats Marvel in the multiverse game in ‘Everything Everywhere All at Once’ | Datebook