Daniels vision for this DJ Snake/Lil Jon beat involves people crashing through ceilings, crotches shattering concrete blocks, and independently dancing DDD cups.
CONTENT WARNING: Not explicit, but sexually suggestive.
Tag Archives: Daniel Scheinert
62*. EVERYTHING EVERYWHERE ALL AT ONCE (2022)
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DIRECTED BY: Daniels (Daniel Kwan and Daniel Scheinert)
FEATURING: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis, James Hong
PLOT: Evelyn Wang is overwhelmed operating a Simi Valley laundromat, caring for her elderly father, enduring an ongoing IRS audit, and trying to maintain her strained relationship with her daughter. Into this maelstrom steps an alternate-universe version of her husband, who informs her that a rage-fueled supervillain incarnation of her daughter is threatening to destroy the entire multiverse. Only Evelyn, using martial artistry and emotional intelligence that she never knew she possessed, can traverse dimensions and embody wildly different iterations of herself to stave off disaster.
BACKGROUND:
- The original script was written with Jackie Chan in mind, with Yeoh envisioned in a supporting role. Once the lead character was switched to a woman, Yeoh was the only choice for the role.
- The Daniels cited inspiration from sources as diverse as the films of Wong Kar-Wai, the video game Everything, and the children’s book “Sylvester and the Magic Pebble. “
- The directors began work on the film after turning down an opportunity to work on Marvel’s “Loki” series, itself a show set against the backdrop of a multiverse. The duo worried that other contemporaneous multiverse projects, including Spider-Man: Into the Spider-Verse and “Rick and Morty,” would make their concept out-of-date.
- The film was released under different Chinese-language titles depending upon the market, including In an Instant, the Entire Universe in mainland China, Mother’s Multiverse in Taiwan, and Weird Woman Warrior Fucks Around and Saves the Universe in Hong Kong.
- The team of martial arts performers and choreographers includes self-taught brothers Andy and Brian Le. (They are showcased in the fight over a suggestively shaped IRS auditing award.) Daniels discovered them on YouTube and hired them based on their familiarity with Hong Kong-style fighting techniques.
- Appropriate to the diverse backgrounds of her family, Evelyn speaks Mandarin with her husband but Cantonese with her father, while her daughter’s Chinese is that of someone unskilled in the language.
- An unexpectedly dominant force at the 95th Academy Awards, snagging 11 nominations and taking home seven statues for Best Picture (one of only a handful of films with science fiction/fantasy elements ever to take the top prize), Directing, Original Screenplay, Editing, and acting honors for Yeoh, Quan, and Curtis. More importantly, Yeoh took home the Weirdcademy Award for Best Actress.
INDELIBLE IMAGE: I know, I know. The hot dog fingers, right? They do make for a superb visual shorthand (sorry) for the film’s breed of weirdness, it’s true, especially when an alternate Jamie Lee Curtis uses her encased-meat digits to tickle the ivories in a rendition of “Clair de Lune.” But is it truly greater than a spectacular bagel that truly has everything on it? Or the transdimensional power of eating lip balm to imbue the consumer with extensive martial arts abilities? Or the introspective moment featuring two rocks as the only souls in the world? EEAAO luxuriates both the oddities of universes different from our own and the peculiarities unique to each realm. Fortunately, the film spares us from having to pick one of them by concocting a spectacular montage of our heroine across all universes and timelines, including some we will never explore outside of this split-second vision. It’s a dizzying triumph of editing and a wonderful visualization of both Evelyn’s dilemma and her power.
TWO WEIRD THINGS: Hot dog fingers; rocky relationship
WHAT MAKES IT WEIRD: Everything Everywhere All At Once is a family drama festooned with the trappings of Matrix-style ontological discussions, multiversal alternates, elaborate martial arts set-pieces, and parodies both reverential and cheeky. That mix alone would garner our attention, and the decision to center the story on characters well outside the Hollywood norm —Asian, immigrant, working-class, gay—further pushes it outside the mainstream. On top of that, the glorious and unexpected choice to ground all this mayhem in an atmosphere of playfulness and joy gives the film further offbeat credentials. It exemplifies this movie’s wonderfully deranged logic to employ googly eyes to stave off the apocalypse. It’s the end of the world as we know it, and I feel fun.
Original trailer for Everything Everywhere all at Once
COMMENTS: “I thought you said when she says (stuff) like that, it Continue reading 62*. EVERYTHING EVERYWHERE ALL AT ONCE (2022)
APOCRYPHA CANDIDATE: EVERYTHING EVERYWHERE ALL AT ONCE (2022)
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DIRECTED BY: Daniels (Daniel Kwan and Daniel Scheinert)
FEATURING: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis, James Hong
PLOT: Evelyn Wang is barely keeping it together, running a business and raising a family while the threat of an IRS audit hangs over her head; as if that wasn’t enough stress, just before a last-chance appointment with her stern auditor, a visitor from a parallel universe tells her the fate of the multiverse lies in her hands.
WHY IT MIGHT JOIN THE APOCRYPHA: Based on the trailer, I had originally assumed this was going to be Daniels’ mainstream popcorn movie: a sci-fi/action/comedy not likely to be significantly weirder than The Matrix or the latest Marvel Phase 4 offering. And while there were plenty of wisecracks, kung fu free -for-alls, sentimentality, and CGI frippery, the makers of Swiss Army Man snuck enough genuine weirdness and unpredictability into the formula that, as the credits rolled, a young theater patron was moved to loudly announce “bizarre is the only word that describes that.”
COMMENTS: Evelyn is a hot mess: a hot mess in a quiet, middle-aged matron kind of way, but a hot mess nevertheless. Harried and constantly distracted, she vainly tries to balance running her laundry business with an overextended social life. She also has to deal with the family members constantly vying for her attention: neglected husband Waymond, lesbian daughter Joy and her new girlfriend, and disapproving, ailing father Gong Gong. It’s no wonder that Evelyn’s 1040 was selected for audit, and that she’s having enough trouble filling out the forms correctly and collecting the proper receipts and documentation that the business is in danger. And so it’s also little surprise that, when told by an interdimensional emissary that the fate of the entire multiverse depends on her, her response is an exasperated “Very busy today, no time to help you.”
But of course, help she reluctantly does. After the setup, the movie reveals its relatively complicated mechanics about infinite universes that branch off at individual’s decision points (i.e., marry Waymond or don’t marry Waymond creates a new universe, as does eating eggs for breakfast instead of noodles), all leading to a network of bubble universes that are visualized as nodes on a smartphone app. A helpful avatar of her husband from the “Alpha” universe explains the evil force threatening all existence (which involves a “bagel of everything”) and how Evelyn can access the skills and knowledge of versions of herself from parallel universes to counter it. So she does, with both badass successes and wacky failures along the way.
With its focus on branching realities, the Canonically Weird movie Everything Everywhere all at Once most resembles is Mr. Nobody (2009) rather than Swiss Army Man. In fact, it’s Nobody to the nth degree: where Jaco Van Dormael‘s cult classic confined itself to three main alternate histories (with notable detours like the argyle universe), Everything attempts to live up to its title with dozens upon dozens of alternate realities, from simple ones where Evelyn is a martial arts expert or a movie star to bizarre worlds where she’s a piñata, a sentient rock, or (the audience’s favorite) a lesbian in a universe where everyone has hot dog fingers. Adding to the eccentricity, the Daniels posit that it’s necessary to seed a jump to a new universe by performing an unpredictable action like eating an entire tube of ChapStick or—in another audience favorite scene—finding an unconventional use for a suggestively shaped IRS auditor’s award.
The script requires almost every actor to play multiple roles, and the ensemble acting is about as good as it gets. Everyone shines, although naturally it’s Yeoh who holds it all together with a performance that recalls (and references) her Hong Kong roots in wuxia films, as well as her recent turn to comedy with Crazy Rich Asians. And a special kudos have to be given to 93-year-old James Hong, for whom this would be an excellent cherry on the top of an incredible 450-role career (except that he still has more films coming out, and may be trying to hit 500 credits before he passes the century mark).
Ultimately, all the apocalyptic furor relates to events in Evelyn’s real universe—uh, the universe we started in, that is. My only slight reservation is with the ending, which gets a bit sappy in delivering its honorably intended “love yourself, faults and all” message. On the other hand, not everyone is a black-hearted cynic like me, and most audience members seemed as moved by the film’s pathos as they were invigorated by its action and amused by its comedy. In the end, this impressive feature comes pretty close to delivering Everything, with bizarre and imaginative conceits delivered at a hyper pace that does make it sometimes seem like they’re happening All at Once. Everything Everywhere all at Once is recommended for everyone everywhere as soon as you can.
WHAT THE CRITICS SAY:
MY BEST FRIEND’S WEDDING/MY BEST FRIEND’S SWEATING (2011)
A best man very temporarily calms down the groom at a wedding by hitting a few pressure points.
CAPSULE: THE DEATH OF DICK LONG (2019)
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DIRECTED BY: Daniel Scheinert
FEATURING: Michael Abbott, Jr., Andre Hyland, Sarah Baker, Virginia Newcomb
PLOT: Two dimwitted band members try to cover up the suspicious death of the third member of their trio in a small town.
COMMENTS: “Hey… ya’ll mfers wanna get weird?,” asks the eponymous (and still living) Dick Long in the opening scene. The Death of Dick Long does get—sort of—weird, though not in the way you might be expecting from half of the directing duo behind Swiss Army Man. Like the crude joke in the movie’s title, which makes you think you’re headed for a raunchy redneck comedy, the word “weird” is a little bit of misdirection. Though the movie is set in Alabama, the “weird” here is of the species you’d expect to see in a headline beginning with the words “Florida Man…”
Initially submitted as a regional black comedy with subtle situational humor, Death quickly moves to dealing with the consequences of the trio’s “weird” night, which we gather must have involved something more intense than the beer bongs, joints and fireworks we see in the opening montage. At first, Dick’s body (which his bandmates surreptitiously dump at the emergency room door in the wee hours) is unidentified, and the precise cause of death unknown. Zeke and Earl aren’t too good at coverups, but fortunately for them the hometown cops—led by a sheriff with a cane and her friendly lesbian deputy—aren’t too good at solving unexpected crimes, even when the suspects literally hand them clues. The first half settles into a Fargo-esque groove that we’ve seen before, as sleep-deprived Zeke forgets to cover up bloodstains and neither conspirator shows much skill at improvising cover stories under pressure. Then, around the midway point, Dick Long takes its outrageous premise and, unexpectedly, wrings serious drama out of it. This tonal shift was a huge gamble, but it pays off.
The acting, from a string of unfamiliar and semi-familiar faces, is universally strong—actually, close to great. Michael Abbott, Jr. handles the lead with tragicomic aplomb. He doesn’t want the secret to get out, sure, but he’s even more afraid of losing his wife and child, which makes it easy to root for him despite his duplicity. His buddy Earl (Andre Hyland) is a comic foil and kind of a dick, a vapin’ fool whose philosophy of life distills down to a beer and a shrug. Sarah Baker makes you think that someday soon she might grow up to be Alabama’s answer to Marge Gunderson. Virginia Newcomb has a supporting role as Zeke’s wife, but gets a major moment when hubby awkwardly and reluctantly confesses after inconsistencies in his story give him no other choice. The smaller roles are handled with equal ability. Scheinert deserves credit for assembling and guiding this fine ensemble.
The Death of Dick Long put in a token appearance in theaters before showing up on a extras-free DVD and Blu-ray in December. This solo outing for Scheinert does not mean that he’s broken up with directing partner Daniel Kwan. The Daniels are currently at work on a new project, Everything Everywhere All at Once, described as an “interdimensional action film.”
WHAT THE CRITICS SAY: