“Eddington” premiered in U.S. theaters on July 18… and it didn’t last long. The film was released on digital less than a month later, on August 12.
Much like “Beau Is Afraid,” audiences weren’t interested in “Eddington,” grossing around $11 million worldwide on a $25 million budget.
“Eddington” is ahead of its time, and viewers weren’t ready for it. Many still haven’t processed 2020, with the COVID-19 pandemic causing global, social and economic disruption, Black Lives Matter protests sweeping the nation after the killing of George Floyd and Joe Biden defeating Donald Trump in the U.S. presidential election. These broad topics are just scratching the surface.
With irreverence, Ari Aster tackles all of these subjects in “Eddington.” He doesn’t hold back, exploring them to the fullest with a non-stop barrage of darkly comedic jokes targeting people of all beliefs. In some ways, the film feels like a mirror — reflecting the absurdity and tension that have permeated society over the last half-decade. Because of this, “Eddington” proves to be one of the funniest experiences of 2025. It’s subtle about it too, landing jokes that are satirical and darkly ironic.
The grammar police in me hasn’t stopped laughing at Joe Cross’ slogan: “Your Being Manipulated.” Dialogue regarding social issues culminates into some of the movie’s most hilarious moments, as simple ignorance drives many of people’s biggest differences on the subjects. By going to the extremes (on both sides), “Eddington” spares no one. It’s all the better for this.
Joaquin Phoenix delivers a powerhouse performance as Joe Cross, very much so playing the right-leaning sheriff. Pedro Pascal (Ted Garcia) opposes him, with more left-leaning views. Some of the most intense moments in the film are when the two clash. Phoenix stumbles on his words and carries a rough demeanor, while Pascal is collected and direct. Their dynamic makes the film’s social commentary feel lived-in and immediate.
Having Phoenix’s character as the lead is a bold choice alone, forcing the audience to spend the entire 148-minute runtime with him. It’s demanding, but also pays off, as the story leans heavily on his reactions and moral compass.
“Eddington” proves to be Aster’s most “simple” installment — visually speaking. He dials back many of his visual quirks and lets the wild story speak for itself. Still, the creative transitions and smooth camera movements show up in brief moments, reminding viewers of Aster’s unmistakable touch.
The film also deserves credit for doing so much… literally. The first half is a straight dramedy before drastically shifting into action-thriller territory. This shift doesn’t happen gradually either. “Eddington” abruptly changes gears, taking a bold new direction that surprisingly doesn’t feel forced. The first half of the film feels very much like the “what you need to hear” segment. It picks apart both sides of the aisle, almost forcing them to laugh at themselves. Those who can do so will almost certainly have a blast. The second half moves into the “what could be” idea, showing what all of these culminate into on a town and individual level.
For the extremists, “Eddington” probably won’t be for you. Though it should be. The film gives a clear warning, showcasing the paranoia, division and lies that come from people consumed by conspiracies and political idols.
All of this isn’t to say that “Eddington” isn’t messy. Much like my thoughts on the film, it’s oftentimes all over the place. It’s completely unserious one second, and the next, bodies are exploding. Sometimes these even happen at the same time. The chaos is part of its charm, requiring viewers to pay attention while letting them get swept away.
There’s a lot to decipher, and there’s also not. That’s the beauty of “Eddington.” It’s open to interpretation, and there’s plenty of that to be had.
“We are in the center of it right now. We are in history.”
Phrases like this seem to be said a lot these days. “Eddington” shows that it’s still important to reflect — and laugh — about it all. Even when we are right in the middle of it.
