Humor and Heart Balance the Silicon Valley Satire

Read Time:5 Minute, 32 Second

MOVIE REVIEW
Everything to Me
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Genre: Comedy, Coming-of-Age
Year Released: 2025
Runtime: 1h 30m
Director(s): Kayci Lacob
Writer(s): Kayci Lacob
Cast: Victoria Pedretti, Judy Greer, Abigail Donaghy, Eliza Donaghy, Lola Flanery, Rich Sommer, Utkarsh Ambudkar, Gavin Lewis, Isaac Arellanes, Becca Worthington
Where to Watch: opening in theaters September 5, 2025

RAVING REVIEW: Set against the rise of Apple and the near-mythic figure of Steve Jobs, EVERYTHING TO ME unfolds as a clever, heartfelt look at ambition, failure, and the moments in between that actually shape who we become. Kayci Lacob, making her feature directorial debut, crafts a story that is both nostalgic and incisive, weaving Silicon Valley’s glossy allure with the awkward realities of growing up.

At its core, the film follows Claudia, a girl whose life trajectory is defined by her fixation on greatness. In Claudia’s mind, the next big leap in technology isn’t a far-off dream but something she herself must embody. This mindset fuels her childhood and adolescence, guiding her into adulthood, where she discovers that product launches and keynote addresses can’t prepare you for heartbreak, disappointment, or the everyday compromises of real life. That tug-of-war becomes the heart of the movie, and it’s where Lacob finds her stride!

Victoria Pedretti shoulders the responsibility of the adult Claudia with poise and confidence. Here, she plays Claudia not as a one-note genius or a caricature of Silicon Valley ambition, but as someone struggling to reconcile the fantasies of her younger self with the often messy truths of adulthood. Her performance keeps the film grounded, even as it embraces moments of broad comedy.

Abigail Donaghy, playing young Claudia, shines as the version of the character most consumed by ambition. Her performance captures the restless energy of adolescence—every setback feels monumental, every small victory feels like destiny. Donaghy’s Claudia is constantly testing the boundaries of expectation, and she handles it with an earnestness that makes her relatable, even when her tunnel vision borders on abrasive. She gives Claudia the raw urgency of someone desperate to carve a place in history.

Judy Greer, as Claudia’s mother, adds a layer of warmth and wisdom that prevents the film from drifting too far into satire. Greer’s presence offers emotional stability, and she has several standout moments where her dry wit softens the heavier material. Rich Sommer, playing Claudia’s father, grounds the story with his trademark blend of warmth and exasperation. At the same time, Utkarsh Ambudkar brings charisma to his role as a mentor figure, injecting energy into Claudia’s formative years. Lola Flanery and Gavin Lewis round out the ensemble with performances that highlight the social and personal dimensions of Claudia’s journey, reminding her that greatness isn’t always measured in innovation or success, but in connection.

Lacob’s decision to set the story in the early 2000s is inspired. The era allows the film to explore the intoxicating rise of Apple, when each product reveal felt like a glimpse of the future. By filtering Claudia’s growth through this moment, Lacob reflects on how external forces—corporate mythmaking, consumer culture, the cult of personality around Jobs—infiltrate personal identity.

EVERYTHING TO ME blends vignette-like storytelling with a more traditional coming-of-age arc. The narrative often skips through time, allowing audiences to glimpse Claudia’s progression across key stages of her life. While this structure occasionally feels uneven, it also mirrors the disjointed way we often remember our own lives—fragmented, tied to moments rather than a seamless story.

Where the film excels is in its balance of comedy and heart. Lacob doesn’t shy away from poking fun at Silicon Valley’s relentless obsession with productivity and innovation, but she also finds empathy in her characters’ failings. Claudia’s ambitions are often absurd, sometimes frustrating, yet never ridiculed. Instead, the film invites the audience to laugh with her, not at her. That choice makes the journey feel less like satire and more like a relatable portrait of growing up in an era that demanded everyone dream big.

EVERYTHING TO ME asks a deceptively simple question: what does success actually mean? For Claudia, the answer evolves as she stumbles through both triumphs and setbacks. By the end, the film doesn’t hand audiences a definitive conclusion but instead offers the truth that success is rarely as clean or glamorous as a keynote presentation. The message resonates without preaching, and it’s enhanced by the cast’s ability to infuse their roles with nuance and humanity.

Ultimately, EVERYTHING TO ME succeeds because it understands that ambition, while intoxicating, can’t shield us from the complexities of real life. Lacob’s debut feature is a promising entry into the genre, powered by strong performances and a clear vision of its themes. It may not redefine the coming-of-age film, but it delivers a sharp, funny, and heartfelt experience that leaves plenty to think about. It’s the kind of movie that won’t leave your mind because it feels both specific and universal: specific in its framing, yet universal in its exploration of how we grapple with the gap between who we want to be and who we are.

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[photo courtesy of CONCOURSE MEDIA, WINDING WAY PRODUCTIONS, BULL'S EYE ENTERTAINMENT, REBELLIUM FILMS]

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