Everything Everywhere All at Once is a manic, heady and oddly sentimental trip through yet another “multiversal” scenario.

The latest film by Daniel Kwan and Daniel Scheinert (together mononymously know as the Daniels) is perhaps this year’s most ambitious and has already won many ardent fans.

It certainly overflows with invention and interesting ideas, but for older moviegoers may burst too much at the seams with juvenile humour.

But for those of the internet age who, as Bo Burnham said, are used to experiencing ‘anything and everything all of the time’, it might just be an instant classic.

Is Michelle Yeoh, playing a kick-ass, multiverse travelling and big-government-beating martial artist this generation’s Travis Bickle?

Multiverses could well be the modern filmmakers’ take on reflecting the nihilism of the 24-hour content cycle, where no horror is left unseen.

It sure is a neat trick to be able to jump to a different reality where the real world no longer matters.

Everything is far smarter than that, however, and is fully in on the joke that its central conceit is ridiculous.

The Daniels use this as a way to successfully disarm the viewer before slamming home a lachrymose ending, which is the film’s weakest plot point.

Mild spoilers to follow

Everything follows Evelyn Wang (Michelle Yeoh), an aging Chinese immigrant whose life has stagnated.

The looming threat of an audit hangs over her and husband Waymond (Ke Huy Quan), whose marriage is also slowly falling apart.

She wants to be anywhere else than in her own skin, where she lives a small life running a laundromat in a foreign country with a husband she thinks is soft and a daughter she does not understand.

Just when she seems unable to deal with it any longer, while being lectured by a patronising IRS agent, the multiverse appears in front of her.

Should Evelyn take the risk and see what could happen, or return to her powerless existence?

As Neo in The Matrix did before her, the draw of endless possibility is too much to turn down.

Thus begins a truly crazy two-hour trip through the multiverse where Yeoh is able to show off her acting range, while also displaying her fighting acumen as in her breakout role in Crouching Tiger Hidden Dragon.

After building an incredibly wide palette upon which to cast its story, Everything unfortunately leans into the sentimental with an ending that is at odds with the rest of its brave ideas.

In a different era, Everything would have become an item of cult fascination, but given that internet culture is now mainstream, it is likely to be a generationally defining outing.

Expect to either be all-in or not grabbed at all.

Rated 16 for Language, Nudity and Violence.
4/5.