Is that film with butt plugs and hotdog fingers really going to win?
It is. Everything Everywhere All at Once, the madcap multiverse comedy in which Michelle Yeoh plays a fed-up launderette owner who accesses different versions of herself to save the world (and defeat Jamie Lee Curtis’s villainously dowdy tax inspector) now looks a lock for best picture. It’s won all the key awards in the run-up, broke records at the Screen Actors Guild awards last Sunday and an auction of props on Friday raised more than half a million dollars.
Wow! It must be fantastically good!
Well … how do I put this? Remember how last year The Power of the Dog, Jane Campion’s tense homoerotic western, was pipped to the post by Coda, which looked like something the Hallmark channel put out on a wet Wednesday? The best picture doesn’t always win best picture. Everything Everywhere has split opinion. Some like it for its originality and spunk, quirky anime-inspired visual panache and absurdist humour. Others find it dim, derivative, unfunny, repetitive, overlong, smug and insufferable.
