Just watched: Everything Everywhere All At Once (2022). If the only path to humanitarian existentialism and family wholeness is half-baked, TikTok-speed universe-jumping through temporary nihilism and a jungle of sophomoric gags, I’ll take it—so long as it’s the masterly Michelle Yeoh and endearing Ke Huy Quan you hire to blaze the trail.
But I’ll probably take it just once, because Christ-figuring aside, there isn’t a whole lot of profundity here other than what comes through Yeoh’s countenance and bearing. And unfortunately, the obviously skilled martial arts on display leave me flat, serving as they do as sci-fi premise establishment and gag delivery service rather than pure spectacle or aesthetic event.