This isn't to say that Everything isn't enjoyable at times. It is. But the first half of the film is a generic English love story, and the second half of the film – although we only know the characters because of the parts they generally play in the love-story genre – is a disability narrative that plays up all of the old tropes of disabilities you'd expect from a Hallmark movie.
Eddie Redmayne hits all of the right notes as Stephen Hawking, and he looks the part, his wiry frame and Jan Sewell's makeup combining to convince us that we are looking at the famous physicist.
In the film's second act, Charlie Cox is introduced and Everything gets a little queer. It was here where my companions and I perked up at the possibilities of the movie. Maybe, we thought, we are in for something a little different. But the movie can't really manage its own queerness. Uncomfortable in its non-generic territory, it returns us to genre by picking a new genre: this time the overcoming-disability-supercrip narrative so often described by critical disability studies.
But the script, I wager, has some legs for an Oscar nomination, and once audiences see Everything their heartstrings (as it were) are going to be tugged. The score could get an Oscar nomination, as well. I would also expect the two leads to snag nominations. I'm betting four nominations, no wins. And if you don't care about the Oscars, go ahead and skip this one altogether.