Respond to these rapid questions in our Everything Everything quiz and we will tell you which Everything Everything character you are. Play it now.
Even with mediocre material, charismatic film actors can perform miracles. The point, however, at which they are no longer able to conceal the fact that the story they are so ardently committed to telling is a little suspect is usually reached.
“Everything, Everything” is the latest best-selling young-adult novel to find its way onto the big screen, and I was content to simply bask in the company of Amandla Stenberg, 18, (Rue in “The Hunger Games” franchise), and Nick Robinson, 22, (Jurassic World), the two attractive leads who star as Maddy and Olly in this adolescent romance. This couple’s presence puts a welcome sheen on an old thematic chestnut: the destiny-driven infatuation that won’t be denied even in the face of a potentially lethal disease. They are blessed with bright blemish-free faces, a precociously articulate way with words as they discuss calculus and literature, knock-’em-dead smiles, and effusively emotive hair.
What is the ailment in question? Maddy is a “bubble girl,” which means that she has severe combined immunodeficiency (SCID), which is a genetic disease. Consequently, she is allergic to the outside world and is confined to an antiseptic environment as a result (complete with a stylish mostly white and certainly organic wardrobe). The term “bubble boy” has appeared on television (in 1976’s “The Boy in the Plastic Bubble” and as the sore loser Trivial Pursuit player on “Seinfeld”) and in films (Jake Gyllenhaal in the 2001 dramedy “Bubble Boy”). A female version, on the other hand, is extremely rare, and the so-called bubble in this instance could easily pass for something out of a high-end décor magazine aimed at medical patients. With plenty of large windows in her hermetically sealed contemporary Los Angeles home, Maddy can at least pretend she can connect to the outside world beyond her laptop—something she hasn’t been able to do for the past 17 years.
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In a stroke of luck, single mother Pauline (Anika Noni Rose, who appeared in the film version of “Dreamgirls” and whose talents are only partially explored here) is a compassionate doctor who attends to all of her daughter’s medical needs while also acting as a vigilant warden to ensure that she is never exposed to potentially hazardous situations. After her husband and a son were killed in a car accident several years ago, she has become extra cautious. Maddy became terribly ill shortly after, and that was the end of that. But then there are new neighbors, and lo and behold, Maddy notices Olly, the super-cute skateboarder who lives next door, who makes eye contact and waves as she peers through the glass.
Everything Everything Quiz
This appears to be a clever parody of the balcony scene from Shakespeare’s “Romeo and Juliet,” in which the besotted couple can see into each other’s bedroom window and communicate through a variety of means. They initially become friends over silly pantomimed jokes made at the expense of a stale bundt cake baked by his mother and rejected by Pauline because, well, germs, as the saying goes. Then Olly writes his cell phone number on his window pane, and the two of them are soon sending each other sweet text messages at all hours of the night. A sympathetic nurse in the style of Shakespeare is even employed by the family, named Carla (Ana de la Reguera), who acts as a go-between and even allows Olly to enter the house after he promises to keep a safe distance from Maddy and the other children (fat chance).
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As Maddy imagines her text message exchanges with Olly are face-to-face conversations taking place in life-size versions of her architectural models of a diner and a library, director Stella Meghie brings Maddy’s architectural models to life, which I find particularly effective. It allows the film to take a breath. The fact that an astronaut figure that inhabits her miniatures also appears as a character is a delightfully surreal and humorous touch to the story. Furthermore, the matter-of-fact portrayal of a bi-racial relationship is presented exactly as it should be—without any comment or commentary.
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However, when Maddy begins to rebel against her mother’s strict rules and Olly’s father becomes abusive, it is inevitable that they will flee—and flee to a beach, which is Maddy’s dream—and that they will run away together. Think “Love Story” crossed with a PG-13 version of “Blue Lagoon,” minus the gore and goregousness. That is the point at which logic begins to go awry. Yes, you can obtain a credit card at the age of 18 simply by completing an online application. Yes, you can use it to purchase plane tickets through a website. But how can she fly without identification when she clearly does not have a driver’s license, based on her reaction to being in a car with Olly at the wheel? Furthermore, you just know that there will be a BIG TWIST coming at some point, and that when it does, it will bring everything crashing down with it.
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A tonic, a contact-high reminder of what it feels like to be consumed by such a rush of intense feelings can be found in being around any young people who are in the throes of developing feelings for someone. It can also be extremely irritating, particularly when they isolate themselves from the rest of humanity, including those who care about them the most. “Everything, Everything” tries to be both romantic and realistic at the same time, but only partially succeeds in being the right medicine for the situation.
For more personality quizzes check this: The Foreigner Quiz.
