Film Review: Everything, Everything
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Translating young adult fiction to the big screen comes with its challenges. A film of this type has to appeal to its inspiration’s younger audience without coming across as too trivial. Although slightly cheesy and at times cliched, Everything, Everything is otherwise successful in this field. The story is a familiar one. It ultimately boils down to the classic girl-meets-boy plot found in nearly every film of the romance genre with only an illness and the inability to leave the house separating it from the rest. However, the film exhibits a creative mode of storytelling that embraces its modern, young audience and captures the imagination. Told through the eyes of Maddy (Amandla Stenberg), who has spent her entire life in the safety of her bacteria-free home, the film takes its audience on a ride through both her reality and imagination as she begins to fall for her new neighbour Olly (Nick Robinson). The contrast between the inside and the outdoors cleverly builds Maddy’s world and, in a singular shot, viewers are reminded of the difference between what Maddy has become accustomed to and what she desires, evoking a level of empathy towards her but never pity. The film wastes no time in jumping into the story and from there the pacing is perfectly controlled. As soon as the clinical, routine-orientated nature of her life is established, Olly enters the scene and with him comes a shift in tone. A visible change in Maddy’s character becomes apparent, as well as a warmer, freer atmosphere. It is made clear that Maddy is in no way void of love or affection in her life prior to Olly, enjoying nights in with a caring mother, but it is upon his arrival that viewers and Maddy alike realise what she has been missing.
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