Creating a unique mix of punk, emo, and trap, Lil Peep was set to bring a new musical genre to the mainstream when he died of a drug overdose at just 21 years old. From the streets of Los Angeles to studios in London and sold out tours in Russia, the artist born Gustav Ahr touched countless lives through his words, his sound, and his very being. With Terrence Malick serving as executive producer, "Everybody's Everything" is an intimate, humanistic portrait that seeks to under... (Full plot summary below)
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Creating a unique mix of punk, emo, and trap, Lil Peep was set to bring a new musical genre to the mainstream when he died of a drug overdose at just 21 years old. From the streets of Los Angeles to studios in London and sold out tours in Russia, the artist born Gustav Ahr touched countless lives through his words, his sound, and his very being. With Terrence Malick serving as executive producer, "Everybody's Everything" is an intimate, humanistic portrait that seeks to understand an artist who attempted to be all things to all people.
Leave your thoughts about Everybody’s Everything.
| Consequence of SoundDan CaffreyUnsurprisingly, Everybody’s Everything feels most conventional during its talking-head interviews, an aesthetic shared with almost every other music documentary out there. ... But when the film shows rather than telling, it’s clear that there are no easy answers for this kind of tragedy. |
| IndieWireDavid EhrlichMuch like its subject, the film is beautiful, compelling, hard to watch, and spread too thin to stay with us for long. |
| The PlaylistRyan Oliver“Everybody’s Everything” is a loving tribute for fans as well as those unfamiliar. And for the latter, the doc truly creates a sense of humanity, awe, and undeniable raw talent that it makes it easy to why his music connected with so many people in such a quick amount time. |
| The Film StageJohn FinkIt’s a film full of highs and lows, sorrow and recollection, fun and political ideology–a mess, but one that feels authentic and accurate. |
| Rolling StoneDavid FearYes, it’s grim and gloomy — and like Lil Peep’s music, there’s also a sense of catharsis in all of this. More than anything, Jones and Silyan seem to be fashioning a postmortem that plays like his greatest hits, in which wounded wooziness somehow gives way to exhilaration and a warped sense of uplift. |
| New York Magazine (Vulture)Emily YoshidaThe film ... is more emotional than definitive; stopping just short of bestowing sainthood on the artist, but still aiming for something a little more cosmic than reportorial. This is not a “what really happened” exposé of his death, nor is it an academic postmortem on Peep’s musical or cultural legacy. It’s most effective as a character study. |
| VarietyAndrew BarkerThe only perspective that’s missing here is that of Peep himself, and that hole at the center of the narrative gives the film a haunting impact. |
| Los Angeles TimesKimber MyersDevotees will appreciate a different look at their fallen idol, while those who aren’t familiar with his music might find the film a bit long at nearly two hours but will see what the appeal was to those who loved him. |
| The New York TimesKen JaworowskiAn engaging account of Peep’s life and the alt-music scene. |
| TheWrapMonica CastilloIf the documentary starts to feel like a blur, that’s exactly how a member of Lil Peep’s entourage describes the experience of living beside someone who rose and fell so quickly. |
