This movie is spectacular, there is no other word for it. A sumptuous banquet of creativity, wonder, imagination, insanity and unhinged wonder - Daniels have shown us what cinema is supposed to be about. The ideas are "mad", yes, but only because we're not used to such freedom of creativity on screen, because all too often there is a tight stanglehold on the sort of things that are, you know, good. The directors keep a tight reign on the madness (leaping onto dildos, in a sequence which had me crying with laughter, luchadore cock battles, eating chapstick to gain superpowers, James Hong in a home-made mech suit) with a touching, and genuinely sweet introspective examination of nihilism and existentialism, as well as the relationship between Evelyn and her family. Nothing matters, so embrace things you love. After all, what do you have to lose?
The film is gorgeous to behold, has editing which dreams are made of (I'm in awe that the makers created an entire marble bust of Michelle Yeoh's head for a split second editing gag, same with an animated sequence) in moments which flicker by with genuine talent and skill. It's slick and smooth as butter.
And in a movie where James Hong Tokyo-Drifting his wheelchair at a luchadore at super speed is only, like the 8th weirdest thing to happen in those ten minutes, there is a lot to love.
Every person is going to have a favourite part, or moment, or thing they love. Personally, it's the little things: I loved that the shots of Evelyn and Waymond in the "successful" world looked like something from "In the Mood for Love", and a sequence involving rocks. The aforementioned dildo sequence is a highlight too, I was crying with laughter, and "Raccoon" gag pays off wonderfully.
Each and every scene is packed with something new, some other detail you may have missed, and I reccommend this movie whole-heartedly
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