Everything Everywhere All at Once
Fasten your seat belt and prepare for the spring film series and comedy series — and one of the success stories under the radar of the season. Directed by the “Daniels” which could be Swiss Army Man’s Dan Kwan and Daniel Scheinert Everything Everywhere All at Once he picks up a gun dropped by Charlie Kaufman and Michel Gondry ten years ago, those meta merry pranksters creep brain, designed by hand. surrealism in the typical Hollywood area. And it’s even better for the two multi-themed films currently playing in theaters (sorry, the Benedict Cumberbatch goat). Michelle Yeoh has always been amazing as a Chinese-American immigrant who was in trouble (suffering from IRS tax tests, trying to make a Chinese New Year party to impress her father, and dealing with family. Problems in many ways). Then the movie takes the daffy path of sci-fi as Yeoh’s Evelyn is threatened with a series of different facts that give her the hope and skills she needs to overcome her hum-drum obstacles. The Daniels are well versed in this low-key, high-performance action, making you marvel at their ingenuity and absolute courage. At the moment of seeing the movie formulas, Everywhere At the same time is a rare film that presents something you have never seen before and that you may never see again.
Kimi
Steven Soderbergh finally came up with a real winner that is very easy to ignore on the HBO Max homepage. With Kimi, Hitchcock’s modern malaise mastermind of the Siri and Alexa years or, in this case, Kimi – a cone-shaped assistant that emits a cool pink light as she responds to your home signs. It’s not just that Zoë Kravitz’s Angela Childs owns a Kimi machine in her extensive Seattle area, and she works for an outgoing public company that listens to audio broadcasts marked with recognition errors. Monkey job is ridiculous, but also worth it as he is confined with a major OCD. Then one day he heard an unintelligible noise that seemed to expose sexual harassment, and possibly murder, and he tried to warn his superiors to get fired because of an upcoming IPO. But Angela did not give up. Like Coppola’s Interview with De Palma’s Blow Out, Kimi is a lively, full-blown paranoia player. The rear window is probably a big influence on Soderberg down here just for a nice effect, but although some of his themes may go slow, it sounds obvious for a while when we invite digital devices into our homes regardless of how much it costs. they know about us.
After Yang
Five years ago, Kogonada, director of the cleverly clever video essay of Criterion Collection and Sight & Sound, made his debut with the painful indie Columbus (if you don’t see it, do yourself a favor). Now his sequel, After Yang, has arrived, and although unknown and a film with a desire for prominence, it is close and lovable. Colin Farrell, unknown to working with unconventional filmmakers (see Yorgos Lanthimos (The Lobster), plays as a husband, father, and tea owner who is struggling with a nameless, hopeless future, and his wife (Jodie Turner). -Smith), bought Yang (Justin H. Min) who had previously worked as a niece for their Chinese adopted daughter (Malea Emma Tjandrawidjaja). Yang is a loving friend and is connected to the Asian tyke heritage. However one day Yang leaves the fritz, leaving each family member with a space he does not know exactly how to close. Like Columbus, each frame in the After Yang can be suspended and hung at the museum. After Yang meditation with your voice both what it means to be human and that our communication with technology can seem more real than what we have with other people.
