The more I think about this one the more I have to say about it, but that’s usually a more positive takeaway for me than it is in this case. This movie demands attention and then crumbles upon giving it that and I firmly believe that to be an inevitable byproduct of this film’s design and fundamental choices.

Everything Everywhere All At Once makes its intentions of living up to its title and throwing everything at the viewer abundantly clear…

The most apt way I can describe the experience of this film is standing between two mirrors on a wall, staring into the appealingly endless menagerie of frames within a frame. Yet if you witness it from any other angle that isn’t transfixed in the middle, this hypnotizing void is no longer visible, and you’re left caught between two blank dead-ends. To elaborate, Tsai Ming-liang adds a lot of intricate detail in Goodbye, Dragon Inn to make this work both…