![]() ![]() As Everything Everywhere All At Once snaps between zaniness, hilarity, darkness, and hope, so too does its soundtrack. The thrill of Son Lux’s score is in its audacious range. Their soundtrack becomes our conduit across the multiverse, transcending and melding worlds otherwise alien to each other: sci-fi and kung-fu, hot dog hands and Debussy, slapstick and sincerity, mothers and daughters. Explosively kinetic, Everything Everywhere All At Once seeks a dynamic score able to match its ferocity. Evelyn is tired of watching laundry tumble, of filing her taxes, of a path that has seemingly spun her in circles. Evelyn (Michelle Yeoh) is a middle-aged woman who is tired of her life: her daughter Joy ( Stephanie Hsu) scorns her, her husband Waymond (Ke Huy Quan) is readying a divorce, and the IRS is on her ass. Their sonic location, somewhere between creation and destruction, renders Son Lux fitting to score the swelling Everything Everywhere All At Once, a film by the Daniels-the duo of directors Daniel Kwan and Daniel Scheinert-that, too, disavows the conventional limits of creativity. ![]()
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