Eddington Review: A Gorgeous Neo-Western Is Lost In A Messy, Covid-Inspired Plot

by

Five years ago, many of us found ourselves confined at home, cut off from our physical neighborhoods, and immersed in an unprecedented level of continuous digital strife via the compact devices that served as our only lifeline to the world beyond our dwellings. It was a difficult, draining period for numerous reasons, and the epitome of the polarized state of contemporary society. Therefore, it’s perplexing, to say the least, why filmmaker Ari Aster has chosen to depict this psychosocially cursed epoch in his latest movie “Eddington” over a span of 145 minutes.

For his fourth movie, Director Aster has decided to blend the traditional imagery of the Western genre with the turbulent events of Summer 2020, including the Covid-19 pandemic and the George Floyd protests. While other filmmakers might find ways to connect these themes, it takes Aster’s boldness to imagine that such a combination could create an engaging, if unpredictable, viewing experience for audiences who are aware of its potential wild departure from the usual.

The movie titled “Eddington” is captivating, and its impressive aspects may become even more appreciated as time passes. However, its complex themes and lengthy running time seem to resemble intense interrogation methods rather than conventional filmmaking techniques.

It’s a quirky satire, a thrilling western, and tedious commentary (just not in that order)

Initially, ‘Eddington’ appears as a humorous depiction of blunders, but it gradually unfolds into a powerful Western drama with unexpected twists. The primary conflict between Sheriff Joe Cross (Joaquin Phoenix) and Mayor Ted Garcia (Pedro Pascal) resembles a skit from ‘SNL’ about mask-wearing etiquette. Joe, portraying an apprehensive asthmatic sympathetic to the elderly who dislike wearing masks for grocery shopping, stands in stark contrast with Ted, a politically savvy mayor aligned with the state governor during an election year. However, a heated argument triggers a series of events that transform Joe, who would have been a classic cowboy protagonist in a John Ford film, into a contemporary maverick. This leads him to launch an impromptu political campaign against Ted for mayor, using his smartphone as a makeshift campaign headquarters.

Phoenix maintains the same thematic focus in his recent performances, delving deeply into wounded masculinity while displaying self-deprecating vulnerability that sometimes appears as erroneous actions, even in Ari Aster’s “Beau is Afraid,” which we’ve also reviewed. In contrast, Pascal adds intriguing layers to his portrayal of Ted, making it distinct from his upcoming roles. Instead of a riveting duo, this large ensemble includes other striking performances, such as Emma Stone as Joe’s artist wife with a past connection to Ted, Austin Butler as an emerging cult leader, and Deirdre O’Connell as Joe’s mother-in-law drawn into the vortex of internet conspiracies.

Initially, the story is stuck in a satirical depiction of the various factions involved in the political awakening of 2020, which can lead to some hilarious and painfully relevant moments. However, as it progresses, it transforms into a turbulent, suspenseful, and action-packed phase that resembles a distressing time capsule you’re compelled to open.

When it’s on, it’s really on

To avoid misinterpreting “Eddington” and its political thoughts, it’s crucial not to liken the Overton window to a Monopoly board and consider Ari Aster as a token piece moving according to a dice roll, landing him exclusively on one ideology or another. It can be exasperating that the movie appears to derive more amusement from satirizing teenage imitations of Minneapolis riots rather than the ludicrousness of anti-vaxxers. This might lead one to assume Aster is presenting this narrative from a self-righteous, centrist “both sides” perspective often used by timid comedians. However, upon closer observation, it appears that Aster is more interested in exploring a single fundamental truth amidst a vast ocean of contrasting ideas.

As the pandemic kept us apart, it grew simpler for people to divide themselves into increasingly polarized online communities. These enclosed spaces relied less and less on common facts or truths, instead favoring allegiance to various causes that offered comfort, camaraderie, or protection from mockery, humiliation, and public shaming. If “Eddington”‘s storyline is structured around the rules of the Western genre and its characters are modern reinterpretations of those genre’s stock figures, then who are the heroes and villains in a world where there’s no consensus on objective reality?

The parts of “Eddington” that are particularly enriching focus on the extreme aspects of making your own rules, establishing your own rationales, and defining your own truths. Aster skillfully blends elements of both tragedy and humor in the culmination of his narrative. Throughout its 2.5-hour duration, the script masterfully tackles one of the most contentious and aggravating topics in current national discussions, making it feel like experiencing a railroad spike being driven into your forehead just by observing the dialogues.

When it functions smoothly, it does so effectively, but when issues arise, viewing an Eddington production can feel frustratingly similar to the idiosyncrasies and extravagance that have long been associated with Aster’s controversial filmmaking style.

“Eddington” arrives in theaters on July 18. 

Read More

2025-07-18 18:30