The metaverse simulates the time machine. It entails a new technological application open to the dream that alters reality. And it’s true. Without leaving his place, the man can be transported to his past, his future or current adventures.
The cinema massified the metaverse as art. Sometimes he called it “Science Fiction” or “Fantasy”, for its creative halo. He always had it present under different names and changing realities.
Today he arrives without costumes or nicknames in the film “Everything Everywhere All At Once”, where its protagonist, Michelle Yeoh, must get involved in a series of events to prevent her daughter from rejecting her for opposing her way of life.
It is a film where adventure knows how to breathe and is used for the social rescue of two personalities who view the world from the complex status of Asian immigrants in the United States: the so-called country of opportunities that are not always available to those who most deserve them.
In their adventurous escape, directors Kwan and Scheinert apply various technological resources to demonstrate what they do not need to demonstrate: that the metaverse is a scientific reality prepared for the human being to escape from himself in search of what he longs for or to discover what is hidden.
Its protagonist tries to convince an official from the United States Federal Tax Office and her retinue of security guards and co-workers.
Divided into three parts, the first and longest takes place within a stage prepared for an almost ghostly demonstration of martial arts, an unbearable resource due to its indiscriminate use and abuse. The other two parties try less action, but the damage is done. The viewer runs out of film much sooner. “Everything Everywhere All At Once” lacks the choreographic freshness that Tarantino gave to his Kil Bill duo, or Bruce Lee’s legendary oriental character with his Kung-fu tapes.
International propaganda promoted this film like never before to prop it up as the favorite of the Oscars. But let’s not get confused. It was an undeserved award that drew attention for the vessel that adorns it: the metaverse.
Far from creating expectation or emotion due to the capacity of the new technology that transports humans to different places at the same time, the film is based on a saga of clichés and obsolete and impressionistic resources that dazzle but do not convince.
In recent years, the Oscar has tried to capture new audiences by distinguishing works that do not deserve it or that are below many others. In Everything, Every Where at once there is an example of this nonsense. All the awards received in the recent version of the Oscars are well below average compared to the art lessons of other films and actors. But the cinema is not only entertainment, but politics. And on this occasion, the award fits within that context: emigrants from a power that has challenged the United States had to crush those who make culture. But let’s not be fooled. Everything, Every Where at once is a boring, empty, disproportionate, overacted and absurd film, one of those films belonging to the band of lost efforts. Hollywood doesn’t care. He has always given the same when it comes to rewarding for fulfilling opportunities in his insatiable search for political leadership. To be okay with the status quo.
After the fifth kick of Kung-fu, the spectator already knows that he is not in the presence of a work of art, but rather a mess. Like certain obscenities that border on cheap pornography. Some gags that only cause grimaces instead of laughter serve as a second-table dish. The jokes of the Kings of Humor are more digestible than these. That’s not the true metaverse, may the scholars and academic gods forgive me. That is improvisation, mediocre recurrences that fall into the coffers of the wasteland. He lacks height and class. A lot of height, which teachers like Steven Spielgberg, Baz Luhnmann, Guillermo del Toro, James Cameron and Martin McDonagh, among many others, have taught us.
I belong to another generation. But I revere all kinds of cinema when it fulfills its double meaning: entertainment and make you think. I am also a fan of the metaverse, of that resource that transforms us into ourselves and exports us to different contexts. What I am against is bungling, badly done, that a jury of wise men tries to deceive me as if I were a child who has a mint taken out of his mouth.
Nothing more and nothing less. It’s sort of like a baseball team forced to lose to weak enemies. The prize is given, but no one will be able to erase the stain from the history of Hollywood. One more.
Country: United States. Duration: 139 minutes. Year: 2022. Direction and script: Dan Kwan, Daniel Scheinert. Cast: Michelle Yeoh, Ke Hoy Quan, Jamie Lee Curtis, Stephanie Hsu, James Hong and Tallie Medel. Synopsis: When an interdimensional rupture alters reality, Evelyn (Michelle Yeoh), a Chinese immigrant to the United States, is thrown into an adventure in which only she can save the world (Filmaffinity).