Evelyn, with her family consisting of a mumbling husband Waymond, careless LGBTQ+ daughter Joy, and a sick father in a wheel-chair, owns a laundromat. When they come to the bank to check their financial condition, they are unable to explain side spendings on karaoke and other entertainment. So, it's time to declare their bankruptcy, but then salvation appears out of nowhere — and Evelyn finds out the truth about the multiverse. Alpha-Waymond opens up her eyes on the infinity of variations of the world around. But only Evelyn from our reality is able to keep all the worlds from plunging into chaos.
On the whole, Everything Everywhere All at Once is a collection of the most eccentric ideas of its creators, complemented with a great sense of humour and fresh visuals. From the first minutes, cameraman Larkin Syple and editor Paul Rogers create a perfect symbiosis around the protagonist conveying the pace of her life — it shocks and makes even the most stress-resistant viewers squirm on the chair. It is not surprising that it is this variation of Evelyn who is able to save the multiverse from the Great Evil — you should just try juggling family, tax problems, and business and sublimating the desire to send everyone to hell.
Eclectic stylization of every episode as a different genre of cinema does not seem excessive as well — it is needed to shake up your mind and reset it, as it happens with Evelyn. The character discards everything that clogs her mind in order to understand what really matters. Directors Dan Kwan and Daniel Steinert offer the viewer to look at everyday life from a completely different perspective by making the film in the form of extremely dynamic comics. In one of the universes, evolution has gone along a different branch — and yet, even with unusual limbs, people find a way to stay close to ones they love and care for them.