Having a principal character who kind of can’t interact with anyone is hard.
Stella Meghie does an extraordinary job bringing to life a fantastic novel that presented some adaptation challenges-it’s not automatically interesting to watch people think, use a computer, read books, or text other people. They obviously can’t, but they obviously do anyway, with an extraordinary cascade of ramifications. The two begin communicating-messages on windows lead to all-night text marathons, phone calls and an increasingly urgent need to meet in person. Until a cute boy named Olly (Nick Robinson) moves in next door, and suddenly the house starts feeling real damn small. (Dad and an older brother died in a car crash when she was a baby she doesn’t remember them.) Considering the scary and depressing situation she’s in, she seems to have a pretty optimistic attitude about everything, really.
She has a great relationship with her mom (Anika Noni Rose), a physician (luckily) and her nurse, Carla (Ana de la Reguera), and pretty much no one else. She’s amazingly resigned to this glass-encased life, taking online classes and posting book reviews (especially reviews of famous classics with wry “spoiler alert” messages). Her clothes have to be irradiated, her food sourced and prepared to precise specifications-and she lives in a locked-down, airtight house because just breathing unfiltered air could be a death sentence. Anyone entering the house has to be decontaminated in a sophisticated airlock. She suffers from a rare and terrifying condition called Severe Combined Immunodeficiency (SCID), which basically means almost anything could kill her. Maddy Whittier (Amandla Stenberg) is a bright, kind, vivacious 18-year-old girl who has never been outside her house. Everything, Everything is one of the best young adult novels I’ve read in the last few years, and it has now been made into one of the best teen films I’ve seen in a while. Whether they are pat and cheesy and trivial or whether they are moving and thought-provoking and exciting basically comes down to the power of the script, the quality of the performances, and the vision of the director. There are innumerable films that answer to that description. There is a quest to remove those barriers. Adapted from Nicola Yoon’s splendid novel of the same name, Everything, Everything is-like most stories-a love story.
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