“Eddington” takes place during the COVID-19 pandemic, as a standoff between a small-town sheriff and mayor sparks a powder keg in Eddington, New Mexico.
‘Eddington’ is Ahead of Its Time
As with Ari Aster’s previous work, this one feels personal and reflective – but it’s different. The film examines a fractured America, much like the state of the country today. Big or small, “Eddington” speaks on COVID-19, social media, gun control, racism, political division, pedophilia and more. While it all blends together at times, it creates an exaggerated look at real problems the world still faces.
With many of these topics still fresh in the minds of Americans, “Eddington” uses that to its advantage. While it blends multiple genres, this is undeniably a satire. By exaggerating both sides of the political spectrum, it pokes fun at everyone. That irreverent humor works, delivering an endless string of laughs throughout its runtime.
Aster Leans Into Chaos
Across all four of his films, Aster has nailed off-kilter comedy. It doesn’t land for everyone, but his twisted mind speaks to me in a way that most humor doesn’t. Despite leaning into comedy, the movie has plenty to say.
On the psychological side, it explores the effects of isolation and the distorted reality that can follow. Combined with the intense worldviews fostered by social media, this chaos starts to feel inevitable. “Eddington” explores how COVID-19 and other crises created a wave of madness the U.S. is still trying to recover from.
With this fractured look at America comes a fractured film. Much like “Beau Is Afraid,” “Eddington” is all over the place. It constantly shifts tone, never giving the audience time to breathe before leaping to its next idea. That keeps the story engaging, but also exhausting.
Touching comedy, drama, thriller, action and even horror, “Eddington” doesn’t blink. The film itself almost mirrors the characters, losing its grip on coherence as the 148-minute runtime unfolds.
Messy But Compelling
Some may call the second half “messy.” Others might call it “brilliant.” Either way, it paints a portrait of broken people in a broken world – in a broken way. While the film does lose its focus in moments, this filmmaking style borders on brilliance.
Because of its volatile structure, some of the most interesting plot points feel underdeveloped as the film jumps to another side quest. But these inconsistencies also keep things exciting, making it a truly unpredictable experience.
The highs and lows of “Eddington” linger well past the credits. Rooted in real-world events like the Black Lives Matter movement, MAGA culture and COVID-19, this isn’t a movie you escape into. It’s one that makes you think. That’s one of its greatest strengths. No matter your political beliefs, it aims to provoke with laughter, anger or something else entirely. As time passes and these moments in history fade, “Eddington” will sit in a category of its own.
Joaquin Phoenix (Joe Cross) leads a stacked cast, once again proving his star power. He makes this exaggerated character feel real. He’s surrounded by Pedro Pascal (Ted Garcia), Emma Stone (Louise Cross) and Austin Butler (Vernon Jefferson Peak), who help bring the story to life.
But this ensemble also creates bloat. “Eddington” tries to give each performer a moment, and some of those subplots detract from the larger narrative. Stone and Butler, in particular, don’t contribute much to the core story.
The score of “Eddington” helps build intensity. It knows when to go quiet and when to explode. That up-and-down rhythm keeps you on edge as the film grows more frantic. The cinematography stands out too, capturing the remote, small-town vibe. Aster’s signature visual tricks show up here, though less frequently than before.
In dark times, it helps to laugh at ourselves. “Eddington” lets us do that. It’s bold, dark, hilarious and hyperbolic. Only Aster could’ve pulled it off. It’s a mess of a movie – just like the country it portrays. And as time passes, it’s bound to become a cult classic.
Rating: 4 out of 5
