One of the first big fight scenes in Everything, Everywhere, All At Once involves Ke Huy Quan slinging a fanny pack around like a meteor hammer inside an IRS building, and things only get weirder and more specific from there on out. In fact, about midway through, you realize very clearly that fanny pack-based combat is actually one of the most grounded things the movie has to offer. It follows it up with hot dog fingers, sentient rocks, a protracted Ratatouille joke, and improvised sex toy gags. Yet somehow, despite all of this (or maybe because of it) Everything Everywhere All At Once managed to stick the landing and run away with the title as GameSpot’s Movie Of The Year for 2022.
It’s strange to think that, in an era of endless big-budget Marvel blockbusters and nonstop franchise building, the idea of a “multiverse” has become as close to old hat as it’s ever going to get. The idea itself has become less of a story building technique and more of a way for billion dollar companies to cram as much of their IP into a given release as they can–which, don’t get us wrong, can make for some pretty fun opportunities to point at the screen and say “hey, I know what that’s from!” But Everything Everywhere took that idea and turned it on its head, not by reinventing the multiversal wheel, but by using the trope itself to craft what amounts to an intimate, personal, and above all original story about a family of extraordinarily regular people.