On its surface, “Everything Everywhere All at Once” doesn’t have the hallmarks of Oscar bait. But the film is this year’s unicorn, MJSchulman writes: “a defiantly weird non-franchise crowd-pleaser.”
When I saw “” in Toronto, I pegged it as the Oscar front-runner—a perilous place to be in September, with many months ahead for fatigue to set in. As winter came, “Everything Everywhere” picked up steam at “precursor” awards, and it became clear that Yeoh wasn’t alone in the charm offensive.
“Everything Everywhere” now had to navigate the F-word—“front-runner”—but it was peaking just at the right time. Inevitably, there has been a whisper of backlash. “I have yet to find people who tell me they really love it,” one veteran strategist, who is, admittedly, working on a competing film, told me. “When it came out, all I heard was ‘It’s confusing. It’s exhausting. It’s two and a half hours of utter nonsense.
Racial politics aside, it’s possible that some older Academy voters haven’t connected with the Marvel-esque elements that feel second nature to younger fans. If any film could pull an upset, it might be “and has its own aura of timeliness, amid the carnage in Ukraine. The Academy, which is much more global than it used to be, gave “All Quiet” nine nominations, breaking it out of the international-film bubble.
isn’t just a philosophical concept—it’s a mode of storytelling that represents the movies’ strongest contemporary hold over popular culture. All that, and it fits on a bagel. ♦,” nominated for Best Live Action Short Film.
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