Directed by Stella Meghie. With Amandla Stenberg, Nick Robinson, Anika Noni Rose, Ana de la Reguera. A teenager who's spent her whole life confined to her home falls for the boy next door. The New 2021 Polaris Ranger. The official release of Polaris’ 2021 Ranger lineup has been made public. And while you might have already seen a 2021 Ranger 500 or a 2021 Ranger 570 in the wild, those who have ordered Ranger EVs, Ranger 1000s, or Ranger 1000 XPs are still eagerly awaiting delivery. Find many great new & used options and get the best deals for Everything, Everything (DVD, 2017) at the best online prices at eBay! Free shipping for many products! Everything, Everything (2017) cast and crew credits, including actors, actresses, directors, writers and more. Everything, Everything will be released on May 19, 2017. Launch Gallery Read + Load more articles. Connected - Saving the world can be a trip in first Sony Pictures Animation trailer.
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Everything, Everything | |
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Directed by | Stella Meghie |
Produced by | |
Written by | J. Mills Goodloe |
Based on | Everything, Everything by Nicola Yoon |
Starring | |
Music by | |
Cinematography | Igor Jadue-Lillo |
Edited by | Nancy Richardson |
Distributed by | Warner Bros. Pictures[1] |
Release date | |
Running time | 96 minutes[2] |
Country | United States |
Language | English |
Budget | $10 million[3] |
Box office | $61.6 million[4] |
Everything, Everything is a 2017 American romantic drama film directed by Stella Meghiea and written by J. Mills Goodloe, based on Nicola Yoon’s 2015 novel of the same name. The film was produced by Elysa Dutton and Leslie Morgenstein and stars Amandla Stenberg and Nick Robinson and follows a young woman named Maddy (Stenberg) who has a serious medical condition that prevents her from leaving her home, and her neighbor Olly (Robinson), who wants to help her experience life and they begin falling in love.
Principal photography began on September 6, 2016 in Vancouver, British Columbia, and wrapped up the next month on October 7, 2016.
The film was released on May 19, 2017, by Warner Bros. Pictures. It received mixed reviews from critics, with praise directed at the two lead performances, but with heavy criticism aimed at the screenplay. Nevertheless, it was a massive commercial success, grossing $61 million worldwide on a production budget of $10 million.
Plot[edit]
Eighteen-year-old Maddy (Amandla Stenberg) is being treated for SCID, an immune disorder that prevents her from leaving her home and interacting with others. Her mother, Pauline Whittier, takes care of her with the help of her nurse Carla, who has taken care of Madeline for 15 years. Pauline does not allow Maddy to leave her house or interact with anything that has not been 'sanitized'. Pauline monitors her daughter's health status constantly and provides daily medication. Only Pauline, Carla and Carla's daughter, Rosa, are allowed in the home. Pauline does not let Maddy leave their home or interact with anyone outside. Maddy yearns to see the world, particularly the ocean.
One day, a new family moves next door, and their son (Nick Robinson), who is Maddy's age, catches her eye. They share a look as Maddy watches through the window. Later that night, while Pauline and Maddy are watching a movie, the boy and his sister appear on their doorstep, offering a bundt cake. Pauline politely rejects it, and as she is about to close the door, the boy asks where her daughter is. Pauline lies and tells him Maddy is not home. Although, Pauline sees Maddy's desire to get to know the boy, she tries to block off all opportunities for Maddy to contact him. It is also revealed that the father of the boy is violent and their relationship is strained.
Later, the boy writes his number on his window for Maddy and soon they begin communicating through text. He introduces himself as Olly, and they text for a while, getting to know each other and eventually growing very fond of each other.
Adobe zii. Knowing her mother would not approve, Maddy convinces Carla to secretly let Olly visit her inside the house, though Carla makes them promise to stay on different sides of the room from each other. She later invites Olly over for the Fourth of July, since her mother is working that day. Maddy and Olly share a passionate kiss as fireworks go off outside.
The next day, Maddy notices Olly fighting with his father outside. When his father shoves him to the ground, Maddy, to the shock of her mother, rushes outside to comfort Olly. Her mother rushes her back inside. Pauline deduces that Maddy and Olly have been seeing each other, and forbids their relationship. She later fires Carla for betraying her trust. Although Carla is empathetic towards Maddy's circumstances, Pauline will not let her daughter out of her sight. Pauline does not want anything to happen to Maddy and the only way she knows how is to keep her locked up in their home.
Maddy decides that it is time to take matters into her own hands. With a credit card she had previously opened online, Maddy buys two plane tickets to Hawaii, and convinces Olly to travel there with her. In the car on the way to the airport, Olly calls his sister, Kayra, tells her that he is going to Hawaii with Maddy, and says that it will only be for a couple of days and tells her to take care of their mother. In Hawaii, they share a romantic and life-changing experience together. While they were in Hawaii, Pauline sends a police car to find Maddy, and then she spots Kayra walking by the house. Pauline asks Kayra if she knew anything about her brother and Maddy and where they were, but Kayra says that she doesn't know anything.
During the trip, Maddy passes out and Olly rushes her to the hospital. She wakes up back in her bed at home. She breaks off contact with Olly due to the fact that she does not want to make another mistake over love again, and is therefore unable to say goodbye when his mother finally decides to leave his father, and takes Olly and his sister back to New York with her.
A doctor from the hospital in Hawaii calls Maddy to give her an update, and tells Maddy that she does not have something as severe as SCID. Maddy scours her mother's records, and cannot find anything that indicates that she had ever been diagnosed with the disorder. She realizes that her mother has been lying to her for her whole life, and runs away from home.
Maddy stays with Carla and Rosa. A doctor confirms that she has never had SCID, just an underdeveloped immune system from under-exposure due to living in filtered air her whole life. Her mother later tells her that after Maddy's father and brother died in a car crash, Maddy was all she had left and she wanted to protect her and keep her safe. Maddy is upset and leaves.
Later she reunites with Olly in New York, where they restart their romance. The movie ending also implies that she and her mother begin to fix their relationship.
Cast[edit]
- Amandla Stenberg as Madeline 'Maddy' Whittier
- Nick Robinson as Oliver 'Olly' Bright
- Anika Noni Rose as Dr. Pauline Whittier, Maddy's mother
- Ana de la Reguera as Carla, Maddy's nurse
- Taylor Hickson as Kayra Bright, Olly's younger sister
Production[edit]
Principal photography on the film began on September 6, 2016, in Vancouver, British Columbia.[5][6] Wiso steuer: 2019 9 08 1932 impala.
Music[edit]
Soundtrack[edit]
Everything, Everything (Original Motion Picture Soundtrack) | |
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Soundtrack album by | |
Released | May 17, 2017 |
Genre | Soundtrack |
Label | Interscope |
Singles from Everything, Everything (Original Motion Picture Soundtrack) | |
|
Credits adapted from Tidal.[7]
Track listing[edit]
No. | Title | Performer(s) | Length |
---|---|---|---|
1. | 'Night Drive' | Ari Lennox | 2:31 |
2. | 'Let's Go' | Khalid | 3:28 |
3. | 'In Your Eyes' | BadBadNotGood, Charlotte Day Wilson | 4:08 |
4. | 'Howling' | Ry X | 5:11 |
5. | 'Ocean Eyes' | Billie Eilish | 3:23 |
6. | 'Parking Lot' | Anderson Paak | 3:57 |
7. | 'Stay' | Zedd, Alessia Cara | 3:33 |
8. | 'Escape' (acoustic) | Kehlani | 3:19 |
9. | 'Girl' | The Internet, Kaytranada | 3:58 |
10. | 'How Did We' | Skylar Stecker | 3:44 |
11. | 'Let My Baby Stay' (cover) | Amandla Stenberg | 2:25 |
Total length: | 39:37 |
Release[edit]
Everything, Everything was released on May 19, 2017 by Warner Bros. Pictures and Metro-Goldwyn-Mayer Pictures. It was originally scheduled for August 18, 2017, but was moved up to its May date.[8]
Box office[edit]
Everything, Everything grossed $34.1 million in the United States and Canada and $27.5 million in other countries, for a worldwide total of $61.6 million, against a production budget of $10 million.[4]
In North America, the film was released alongside Alien: Covenant and Diary of a Wimpy Kid: The Long Haul, and was projected to gross $10–12 million from 2,801 theaters during its opening weekend.[3] It made $525,000 from Thursday night previews and $4.7 million on its first day. It went on to open to $11.7 million, finishing 3rd at the box office.[9]
Critical response[edit]
On Rotten Tomatoes, the film has an approval rating of 45% based on 119 reviews, with an average rating of 5.21/10. The website's critical consensus reads, 'Everything, Everything should tug young adult heartstrings fairly effectively, but may not be quite engrossing enough to woo less melodramatically inclined viewers.'[10] On Metacritic, the film has a score of 52 out of 100, based on 26 critics, indicating 'mixed or average reviews'.[11] Audiences polled by CinemaScore gave the film an average grade of 'A−' on an A+ to F scale.[9]
The Immune Deficiency Foundation criticized the film as 'erroneously misrepresenting [SCID] through worn stereotypes and misinformation,' singling out in particular the film's use of Munchhausen-by-proxy as damaging to patients who actually have SCID.[12][13]
See also[edit]
References[edit]
- ^ abc'Film releases'. Variety Insight. Variety Media. Retrieved February 14, 2017.
- ^'Everything, Everything'. AMC Theatres. Retrieved April 28, 2017.
- ^ abFaughnder, Ryan (May 16, 2017). ''Alien: Covenant,' No. 8 in the franchise, is poised to unseat 'Guardians' at the box office'. Los Angeles Times. Retrieved June 26, 2018.
- ^ ab'Everything, Everything'. Box Office Mojo. IMDb. Retrieved October 9, 2017.
- ^'Everything, Everything With Amandla Stenberg & Nick Robinson'. What's Filming. September 6, 2016. Retrieved November 15, 2016.
- ^Gittins, Susan (September 5, 2016). 'NEW MOVIE: EVERYTHING EVERYTHING with Amandla Stenberg & Nick Robinson Starts Filming in Vancouver This Week'. Hollywood North. Archived from the original on May 15, 2017. Retrieved November 15, 2016.
- ^'Everything, Everything (Original Motion Picture Soundtrack)'. Tidal. Retrieved 3 April 2020.
- ^D'Alessandro, Anthony (November 10, 2016). 'Bradley Cooper-Lady Gaga Movie 'A Star Is Born' Gets 2018 Release Date'. Deadline Hollywood. Penske Business Media. Retrieved November 15, 2016.
- ^ abD'Alessandro, Anthony; Busch, Anita (May 23, 2017). 'Why 'Alien: Covenant' Lost Its Bite At The B.O. With $36.1M Opening, -34% From 'Prometheus''. Deadline Hollywood. Penske Business Media. Retrieved June 26, 2018.
- ^'Everything, Everything (2017)'. Rotten Tomatoes. Fandango Media. Retrieved May 3, 2020.
- ^'Everything, Everything Reviews'. Metacritic. CBS Interactive. Retrieved October 9, 2017.
- ^Nyren, Erin (May 19, 2017). ''Everything, Everything' Criticized for Inaccurate Portrayal of Immunodeficiency Disorder SCID'. Variety. Penske Business Media. Retrieved April 2, 2018.
- ^'IDF Statement on Everything, Everything'. Immune Deficiency Foundation. Retrieved April 2, 2018.
External links[edit]
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- Everything, Everything on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Everything,_Everything_(film)&oldid=981666636'
Review: Everything, Everything (2017)
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'When I talk to him it feels like I’m outside”
I was with Nicola Yoon‘s Everything, Everything for its first three-quarters. While it’s just as implausibly overwrought as The Space Between Us—another YA love story mired by a high-concept contrivance that literally places a character’s life in jeopardy so he/she may experience what living free and outdoors feels like—its smaller scale concept allows its romance to shine brighter than its premise’s consequences. The notion that Maddy Whittier (Amandla Stenberg) could die from her rare case of Severe Combined Immunodeficiency (SCID) looms because it drives her refusal to let it continue to dictate her life. There’s no race against time to save her or true subterfuge in escape (she’s eighteen and legally able to do what she wants). There’s simply the awe of experiencing everything she’s missed.
It’s manipulative, ham-fisted in its orchestration, and overtly melodramatic, but that’s par for the course with this genre. Its gimmick is drawn as a metaphor for how we’re all shy and awkward about real feelings, a tool inevitably proving as blatant as it is relatable. The star-crossed love at first sight between Maddy in her glass mansion and the troubled yet sensitive new boy-next-door Olly (Nick Robinson) is the stuff teens swoon about if they allow themselves the ability to look beyond its glorified puppy love suddenly being rendered as devotion. These are the things Yoon’s novel and subsequently Stella Meghie‘s film utilize to target its audience and exactly what that demographic buys their tickets to see. It might not be my cup of tea, but it’s effective.
Unfortunately, the author had other ideas beyond this goal. After treating us with enough respect to carry its shortcomings at face value by knowing full well what it is, the film drops a bombshell in an attempt to shock us into believing there was more to this tale than met the eye. Not only does it not earn the additional drama this reveal hopes to conjure, it renders the love story—the literal emotional backbone of the work—into afterthought. For over an hour we’re made to believe the disease is Yoon’s way to amplify the romance only to discover the opposite is true. It’s the romance that pushes for clarity about the disease, this love opening Maddy’s eyes to finally question everything she’s ever known.
This doesn’t make the story deeper or give greater meaning to the whirlwind romance. It just ensures that we recognize the flimsiness of the plot’s foundation. I questioned many things throughout, but the supposed reality that I was watching a cute bit of romantic escapism manufacturing a reality-based imprisoned princess saved by Prince Charming scenario told me to stop. I chastised myself for reading too far into something that didn’t ask me to dig only to see it pretend like it did without a shred of authenticity. The shift comes as a cheap trick, exposing cracks rather than filling them with context. What mother (Anika Noni Rose‘s Pauline) would keep her child locked away for eighteen years? What doctor wouldn’t introduce ways to integrate her with the world?
There’s an answer to these questions. They aren’t plot-holes and yet I wish they were because then I wouldn’t feel so cheated. The Space Between Us knew its idea of a boy born on Mars coming to Earth was cheesy science fiction and it put its cards on the table early for us to experience its lead character’s journey as one he needed to take for himself as much as those surrounding him. If Everything, Everything did the same my reaction would be completely different. It would succeed on those grounds if it remained about Maddy risking everything to feel the sun on her face, ocean waves on her skin, and kiss on her lips. She’d teach her mother (and us) that some things are worth dying for.
Everything Everything (2017) Sa Prevodom
By changing the game its achievements are erased. It spends so long setting up an inspirational tale of courage and conviction only to push it aside for drama that’s much sadder and bleaker than anyone should prepare for since there’s no time to do its complexities justice once they arrive. I often thought how everything would be more worthwhile if Yoon had mined the psychological struggles SCID provides rather than merely painting it as the unfortunate circumstances birthing a cheerful artist with multiple talents. And if she went in that direction (it’s Yoon’s story I take umbrage with, not Meghie’s direction or J. Mills Goodloe‘s adaptation) the ending would fit. The familial drama in Olly’s family would feel like more than an excuse for him to leave too.
Instead its best moments conversely portray the two lovebirds’ unbridled joy. There’s a real connection between them that goes beneath the surface of lust and both Stenberg and Robinson do well playing teens with more to offer than their self-esteem allows them to believe. The scene where they meet in-person—his entrance into the airtight home being facilitated by Maddy’s nurse Carla (Ana de la Reguera), a character whose empathy fits this tone a lot better than Pauline’s suffocating worry—is memorably delightful with both having no clue what to do or say. A nice stylistic flourish subtitling their next encounter with the meaningful cadence/expression-laden subtext under their otherwise empty conversation earns its smile. We pull for their love even if it may end in her death.
But then comes the bombshell. The idea that what Olly and Maddy have can save them both disappears as the story pulls the rug on another type of love it had asked us to believe on faith. A synopsis of the book makes me believe Meghie and Goodloe rightfully changed things to render the ramifications of this turn as weighty as they must be (the book apparently doesn’t), but it’s still like we’ve stumbled into a completely different film. Pauline was the pawn, her authority a barrier to its central love. But now it’s Olly who’s revealed as the device, his inclusion serving as an excuse to pave Maddy’s way towards another truth. In the end nobody’s love feels real anymore and Stenberg’s endearingly likeable performance is wasted.
Score:4/10
Everything 2018
Rating: PG-13 | Runtime: 96 minutes | Release Date: May 19th, 2017 (USA)
Studio: Warner Bros.
Director(s): Stella Meghie
Writer(s): J. Mills Goodloe / Nicola Yoon (novel)
Studio: Warner Bros.
Director(s): Stella Meghie
Writer(s): J. Mills Goodloe / Nicola Yoon (novel)
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