Everything Everywhere All At Once is a multiverse masterpiece

polygon.com:

It’s just about impossible to overemphasize the winking vulgarity of Daniel Kwan and Daniel Scheinert’s work together as the filmmaking collective Daniels. Their first feature film, Swiss Army Man, saw Paul Dano riding the farting corpse of Daniel Radcliffe to freedom and glory. Their best-known music video, for DJ Snake and Lil Jon’s “Turn Down For What,” has Kwan feeling the beat so hard that his crotch smashes through walls and ceilings, infecting the breasts and asses of everyone who sees him with similar destructive energy. In their short film Interesting Ball, a cosmic event results in Scheinert being bodily sucked up into Kwan’s rectum. Their imagery is often joyously crude, and almost always startling, as they go places most creators wouldn’t dare.

But at the same time, it’s just as difficult to overemphasize the humanistic messages their work embraces. All these projects have people finding a strangely compelling, life-affirming power in the weird, gross places the world takes them. Swiss Army Man in particular is downright startling in the depth of its thoughts on cynicism, existentialism, and the meaning of human connection. Daniels’ latest project, the wild martial-arts multiverse fantasy Everything Everywhere All At Once,continues the trend with bloody murder-dildos, weaponized snot, and a fast-paced, hilarious anal-insertion war. But it’s also an achingly honest examination of despair, cynicism, anger, and ennui, all leading up to a message that’s all the more moving because before it asserts that life is worth living, it stares deep into the abyss, considering all the reasons why people might think otherwise.

Everything Everywhere’s plot is best discovered in the moment, since it unfolds with a speed and