“Eddington” Review
Ari Aster’s COVID-era western is a thought-provoking, well-acted, and uneven film that will divide audiences.
Writer/director Ari Aster’s (Hereditary, Midsommar) Eddington is a blistering modern western that takes place during the COVID-19 era. Set in 2020, It’s John Sayles’s Lone Star meets Fred Zinnemann’s High Noon, but wrapped in the societal ennui and suppressed anger during the COVID times that were a result of masking, being cooped up inside, socio-economic differences, and the BLM movement.
Joaquin Phoenix is Sheriff Joe Cross, a New Mexico small-town cop who starts to have bigger aspirations as he sees his rival Mayor Ted Garcia (Pedro Pascal) campaigning for another term. Garcia is everything Cross isn’t—wealthy, stylish, liked by everyone. Phoenix is a master of playing a layered character and Cross is just that. Pascal goes against his usual good guy persona to play a somewhat smarmy, self-important character, which he nails.
As the story unfolds, it’s clear that Cross and Garcia have a simmering dislike for each other that’s been building for years. To make matters worse, when Cross’s wife Louise, Emma Stone, leaves him for self-help guru Vernon (Austin Butler), Cross feels like the ultimate cuckold. Riots and protests are breaking out over George Floyd and people are tired of following COVID regulations. Cross is at his wits’ end about how to handle things. Violence erupts in the small town desert landscape of Eddington, and there’s no turning back for many who want to challenge authority and the government.
Aster creates a slow burn of a movie that explodes in the Third Act. It starts out quiet and pleasant with Cross and others getting irritated and butting heads over the COVID regulations and a homeless guy. Cross’s insecurities get the best of him, which exacerbates everything happening in Eddington. Louise walks through life numb, looking for the next thrill. Cross’s lack of self-awareness is reflected in her inattention.
Cross also has a problem with Eric Garcia (Matt Gomez Hidaka), Ted’s son who always tries to embarrass him. Eric is a reminder to Cross of how little he’s accomplished in life and how tenuous his marriage is.
Michael (Michael Ward), an African American deputy, has a storyline that is sometimes maladroit and sometimes believable. Once the story starts to open up, what happens to him isn’t a surprise and is predictable. While it might seem necessary in the context of the story, a fresher or subverted take on his circumstances would have enhanced the social commentary. He and Guy (Luke Grimes) are the most endearing characters in the film.
When the film first starts off, one wonders if visiting the world of COVID is necessary. As the story takes shape, it’s evident this isn’t just a story about living through COVID but about having real courage by speaking up for what one wants, not by committing violence. Violence begets violence. The film changes gears in each act, which works for the most part, but at a runtime of two hours and 28 minutes, it definitely runs long and could have been just as potent at two hours.
Daniel Pemberton (Materialists, Spider-Man: Across the Spider-Verse) and The Haxan Cloak (Blue Beetle, Beau is Afraid) deliver a searing soundtrack suited to the tumultuous beats of the story and Cross’s journey. Cinematographer Darious Khondji’(Mickey 17, Uncut Gems) captures the isolation and brutality of the desert painting a landscape of quiet menace.
Opinions will be divided about this film because it tackles a lot of issues and takes place during a time period most people want to forget. It is thought-provoking, though, and the performances are stellar.
This A24 release will hit theaters on July 17.
Sonya Alexander started off her career training to be a talent agent. She eventually realized she was meant to be on the creative end and has been writing ever since. As a freelance writer she’s written screenplays, covered film, television, music and video games and done academic writing. She’s also been a script reader for over twenty years. She's a member of the African American Film Critics Association and currently resides in Los Angeles.