Life for the billions of wandering souls on this earth take a myriad of unknown paths, each twisting and looping here and there to the disparate tunes of triumph and turmoil, of splendor and horror, of serenity and pain. And no matter how similar any two paths may be, all are unique unto themselves as to how they play out, say for one detail. Because from the very moment any of us beautiful specs of stardust are fortunate or unfortunate enough to be forged into a soul and shot into this world, there has only ever been and will only ever be one constant, one commonality, one truth. At some point, we’re all gonna die.
We’re All Gonna Die is a light sci-fi, romantic-comedy road trip film, where (in the near future) a mysterious 10,000-mile high “spike” materializes, imbeds itself into earth, and wreaks havoc each time it teleports. Fast forwarding a year later, and struggling beekeeper, Thalia (Ashlie Burch), and emotionally raw EMT, Kai (Jordan Rodriguez), find themselves teaming up to retrieve her bees and his car after it’s all teleported across the country by the mysterious spike.
If you’re anyone that’s spent the better part of the last decade rolling their eyes or yelling at the clouds about the endless onslaught of superhero films, shameless reboots, and theme park ride type movies flooding our theaters, then boy-howdy, do I have the answer to your prayers. We’re All Gonna Die is the refreshing and inspiring chuckle-bucket feature debut of writer/director team Matthew Arnold and Freddie Wong. And despite the massive world ending implications of the story at face value, this film chooses to go small scale and focus on dealing with personal tragedy admits the ceaseless march of societal expectations, all set to the backdrop of the end of the world.
Although this is the director team’s first official foray into feature length, silver screen storytelling, they triumph with a laugh out loud, heartfelt tale that not only thoroughly entertains, but also dares to solidify their particular artistic style. I may be speaking early, but fans of their “smaller” works, such as Video Game High School, Dungeons and Daddies, Dimension 404, RocketJump the Show, and Story Break, would agree that their brand of drama, humor, and whimsy is one that feels highly unique onto them and them alone. Can one pinpoint their influences? Certainly. But, to me and their fanbase, they are operating at a high level of polish and craft, while also whistling a refreshing tune that I’m certain will have no problems becoming commonplace within film culture and the industry alike. It also doesn’t hurt that Ashlie Burch and Jordan Rodriguez deliver enrapturing performances that are as earnest and profound as they are funny.
Now, if all of that is enough to convince you, then go forth and see the film wherever you can, as soon as you can. But if you don’t mind the mildest of spoilers and wish to dive a bit deeper into some fun speculation, then please read on.
Bear with me and briefly consider the state of the world (at the very least) from the perspective of the United States the past decade. Covid, isolation, rapid inflation, tablet kids, perpetually impending 2nd Great Depression, the George Floyd Riots, the wild absurdity of the 2016, 2020, and 2024 elections, the war in Ukraine, the Israel/ Palestine conflict, the looming possibility of a third World War, etc. The average citizen has had all of this swirling around them every day, nonstop for almost 10 full years. And in that time, Millennials particularly have also been enduring some of the toughest years of their lives with aging parents, separation of community, struggles with romance/ relationship, relatives dying off, bills and responsibilities ramping up, etc. And what does any of this have to do with We’re All Gonna Die? I believe everything. Because it’s this very timely feeling for many current early to mid-30’s adults of existing within highly reported and highly felt chaos alongside normal growing pains that the film seems to be tapping into. And although the main themes of the film are universal, the specificity it hits on for the millennial generation is paramount.
In the film, it’s through the chance meeting of two complete strangers (both in their early 30’s) that a will-they-won’t-they romance is kindled. And it is from this instance that the audience comes to discover that both principal characters are dealing or not dealing with the passing of certain loved ones in their lives. And even though they would certainly prefer to feel out and experience potential love and possibly even address their grief, the impending apocalypse they exist in, plus the ever-present relentless demands of work, bills, and deadlines keeps them at arm's reach of each other. So strange enough, between the apocalypse and continued mundane responsibilities, it is the latter that appears to far more withhold the luxuries of breathing and being for Kai, Thalia, and the rest of the world alike. In fact, the apocalypse, which one would think would allow humans to forgo arbitrary, soul-sucking norms, actually turns out to do nothing more than add an extra bit of madness to everyone’s daily routine. How bleak.
However, as the film progresses, it reminds us that even in the midst of mass chaos, whether on a world cataclysmic scale or small, personal scale, it is human connection and honest communication that offer us the chance to find our way out of the dark. It won’t fix the world. It may not even fix us, who constantly spin in our hamster wheels. But at the very least, it can help us step out beyond all the madness and remember that we are more than our problems and the problems of this world. And also, that those problems should not be shied away from, but instead churned upon and expressed. Moreover, if we possess the courage to do so, while also not letting them crush us, then maybe, just maybe, we can come out the other side better. Of course, such a perilous journey is made much easier with one another, rather than alone. And that is the beautiful proclamation this film dares to express.
It’ll sound corny, but it’s a story that feels personal, relatable, and profound without trying to be too big like all the mando-blockbusters coexisting alongside it. It’s absolutely hysterical and heartfelt, offering jokes, performances, and storytelling that feel fresh because of who’s telling them. These are not writers and directors at the beck and call of a massive studio. They are two artists bearing their souls and bleeding out their pure, unfiltered creativity, all of which profoundly reminds anyone willing to watch that movies are more than explosions, people in tights, or cgi-fests overpacked with fanservice and Hollywood stars. They are stories meant to (yes) entertain, but also move you and get you thinking. And I promise, this one has a high chance to make any person laugh, cry, smile, melt, or any combination of the former. Because just as sure as we’re all gonna die, this film will entertain and move you. I guarantee it.
Comments
Post a Comment