He had to find his escape and defeat the machines that had imprisoned his reality.
Evelyn was the chosen one in her reality. She had to face the implications of her actions on her family, find love and existentialism, and defeat the disconnection and nihilism within herself and her daughter.
One of these stories blends philosophical themes, exciting action, compelling characters, and emotional resonance. The other is trying too hard to have the same themes.
It's pretty obvious to me why it's not my type of film. However, it terrifies me that so many people seem to praise it.
I enjoy being immersed in the character's feelings and feeling the emotional power the story brings. While some people argue that there is emotional power in "Everything Everywhere All at Once," I just couldn't get immersed in the movie because it has too many layers that are often ludicrous and childishly weird. It's hard to take something seriously when it isn't trying to be taken seriously.
What really shocked me was that people were crying and having existential meltdowns after watching the movie, and I don't understand how that's possible.
I cried at the end of La La Land because of how much you can relate to the characters' longevity of a relationship and that ultimate approval nod as they understand each other. It is a moment that is both horribly shocking and realistic in how it portrays the different directions life can take people.
I cried at the end of Whiplash because when Neeman and Fletcher lock eyes, it is their first moment of solidarity. It represented a moment of intense emotional release and resolution that we, as the audience, had to endure non-stop throughout the film.
I cried at the end of Breaking Bad again because when Walt and Jesse look at each other for that final time, we feel the complicated and often tumultuous relationship they had for so long between them. It is a culmination of their journey together.
These films stay within one lane, one relationship, and one clear goal, which makes it easier for the audience to feel the emotions they bring. "Everything Everywhere All at Once" couldn't recreate that because it had too much being said, and there were too many layers of interpretation.
"The Emperor's Clothes," is a short morality story written in the late 1800s about an Emperor who is obsessed with the new clothes that this famous weaver has made for him. He parades the streets of his Kingdom wearing his new clothes to celebrate, and all the men and women of his kingdom cheer and approve of his new fit. That is until a child points out that the emperor is, in fact, naked and not wearing any clothes. The facade is up, and at that moment, the emperor and his kingdom altogether realize the same fate. That he is, in fact, naked, and the clothes do not exist. But they were allowed to exist because of their faith and trust in the famous weaver. Rather than their faith and trust in their own perception.
Evelyn was the chosen one in her reality. She had to face the implications of her actions on her family, find love and existentialism, and defeat the disconnection and nihilism within herself and her daughter.
One of these stories blends philosophical themes, exciting action, compelling characters, and emotional resonance. The other is trying too hard to have the same themes.
It's pretty obvious to me why it's not my type of film. However, it terrifies me that so many people seem to praise it.
I enjoy being immersed in the character's feelings and feeling the emotional power the story brings. While some people argue that there is emotional power in "Everything Everywhere All at Once," I just couldn't get immersed in the movie because it has too many layers that are often ludicrous and childishly weird. It's hard to take something seriously when it isn't trying to be taken seriously.
What really shocked me was that people were crying and having existential meltdowns after watching the movie, and I don't understand how that's possible.
I cried at the end of La La Land because of how much you can relate to the characters' longevity of a relationship and that ultimate approval nod as they understand each other. It is a moment that is both horribly shocking and realistic in how it portrays the different directions life can take people.
I cried at the end of Whiplash because when Neeman and Fletcher lock eyes, it is their first moment of solidarity. It represented a moment of intense emotional release and resolution that we, as the audience, had to endure non-stop throughout the film.
I cried at the end of Breaking Bad again because when Walt and Jesse look at each other for that final time, we feel the complicated and often tumultuous relationship they had for so long between them. It is a culmination of their journey together.
These films stay within one lane, one relationship, and one clear goal, which makes it easier for the audience to feel the emotions they bring. "Everything Everywhere All at Once" couldn't recreate that because it had too much being said, and there were too many layers of interpretation.
"The Emperor's Clothes," is a short morality story written in the late 1800s about an Emperor who is obsessed with the new clothes that this famous weaver has made for him. He parades the streets of his Kingdom wearing his new clothes to celebrate, and all the men and women of his kingdom cheer and approve of his new fit. That is until a child points out that the emperor is, in fact, naked and not wearing any clothes. The facade is up, and at that moment, the emperor and his kingdom altogether realize the same fate. That he is, in fact, naked, and the clothes do not exist. But they were allowed to exist because of their faith and trust in the famous weaver. Rather than their faith and trust in their own perception.
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