Here is an orgiastic work of slaphappy genius that doesn’t operate like a narrative film so much as a particle accelerator — or maybe a cosmic washing machine — that two psychotic 12-year-olds designed in the hopes of reconciling the anxiety of what our lives could be with the beauty of what they are.

It's impossible to describe. It's unlike anything you've ever seen. It's the best American movie in years, and certainly the best movie to hit theaters since the pandemic began.

Everything Everywhere All at Once is a complex film that encompasses a variety of subjects, but it does justice to each of them with a carefully written script, marvelous performances, and a healthy dose of bizarre humor to counter its bleak story. Michelle Yeoh in particular gives a powerhouse performance in a story that puts a fresh, welcome spin on the idea of the multiverse.

It’s simply up to the viewer to relinquish control, strap into the rollercoaster seat and trust that the ride will take them somewhere transcendent. And it does.

In Everything Everywhere All At Once, a dizzying and aching bit of popcorn entertainment, in fact, Yeoh has never been better.