Eddington

Finally, a film addresses the giant elephant in the room that in the last five years has sent the country spiralling even further into political and identity tribalism, the ascendance of authoritarianism, etc., which the media likes to pretend it never stoked (as if Jan. 6th was all based on one discontented president's rhetoric and not also on thousands of jobs lost due to shutdowns): the Covid-19 Pandemic. The ever busy Pedro Pascal and always adventurous Joaquin Phoenix are great as Mayor and Sheriff at political odds in the tiny town of Eddington, New Mexico (really Truth or Consequences) with mask restrictions that drove many a citizen crazy in 2020-1 (the plot only seems a bit of an overreach by conflating AI into the mix, an issue that really didn't enter the national conversation until late 2022 at the earliest). Emma Stone is very funny as Joaquin's doll-obsessed, frigid wife, and the film has a charming, homespun quality that recalls other New Mexico-set films like "Welcome To Mooseport" and "White Sands" (I tried to be an extra when it filmed a year ago this past April but missed the window, finding only "Welcome Eddington!" marquees at various drive-ins). With NM's usually vibrant film scene slowed to a snail's pace due to tariffs and such (Superman was essentially fighting a fitter, younger Don), it's great we still have challenging, well-written films like this emerging in 2025 among all the usual play-it-safe remakes and reboots. Check out Eddington; at least it'll give you something to talk about.

In 2019, Ari Aster struck many film fans as the new face of horror and quickly attached him to the genre. In 2025, Ari Aster has departed from that stereotype and is now seen (at least in my opinion) as a director who makes very polarizing and ambitious films that he wants to make. I gotta respect the guy for going out and doing that. Eddington, much like his 2023 film "Beau is Afraid" is that kind of film. It's ridiculously ambitious, busy, and absolutely bonkers. It's something that I feel only Aster could make. I'll agree with the critics when they say Aster covers a lot of subjects but doesn't really commit to most of them. He seems to kind of get lost in the moment of trying to satirize and summarize too many subjects of the COVID pandemic to the point of exhaustion. It's not his most successful film and it's certainly not going to please everyone, but I greatly admire the drive he put into it.

Joaquin Phoenix is really one of our best actors. I am a fan of his work from films like "Inherent Vice", "Two Lovers", "Buffalo Soldiers", "Her", "Napoleon", "Irrational Man", "Gladiator", "Walk the Line", and "The Master". And of course he won the Oscar for best actor for "Joker".

Now he stars in a new movie called "Eddington" directed by Ari Aster. I know that Ari Aster previously directed the films "Hereditary", "Midsommer", and "Beau is Afraid". But I have not seen any of those.

The story takes place in the fictional town of Eddington, New Mexico during May of 2020, the time of the coronavirus pandemic. It starts with people arguing about whether or not they should have to wear face masks to protect them from the virus.

Joaquin plays the local sheriff who clashes with the mayor, played by Pedro Pascal in a supporting role. Then Joaquin's character decides to run for mayor himself.

The story escalates into some violence but is never less than compelling and entertaining. This is one of the better movies I have seen this year. Also with an excellent supporting cast including Emma Stone and Austin Butler.

Also with good cinematography from Darius Khondji, who was nominated for "Bardo false chronicle of a handful of truths" and "Evita".

This film is very much worth seeing in a movie theater. A very good movie.

It's a meticulously crafted powder keg, and Aster lights the fuse with the precision of someone who knows exactly how long the fuse burns. The man doesn't make movies-he engineers experiences. This one? A contemporary western that hums with unease, like a desert wind carrying whispers of something off.

Aster's got a reputation for unsettling audiences, but here he trades pagan rituals and family trauma for the sun-bleached nihilism of New Mexico. The tension isn't in the jump scares-it's in the silence between glances, the way a sheriff's badge catches the light just a little too sharply. His camera lingers like a vulture circling, and the editing? Tight. No wasted movement. You'll feel every minute of its 148 runtime, but not because it drags. Because it grinds.

Joaquin Phoenix as the sheriff? He's all coiled ambition and swallowed rage, a man who's mastered the art of smiling without it touching his eyes. Emma Stone? She's in her element here, shifting from warmth to withering skepticism like a switchblade flicking open. And Pedro Pascal-quiet, calculating, a performance that says more in a raised eyebrow than most do in monologues.

If you're expecting another Midsommar, adjust your sights. This is a different breed-a dark comedy dressed in cowboy boots, where the jokes land like gut punches. The humor's bone-dry, the violence matter-of-fact, and the existential dread? Oh, it's there. Lurking in the background like a bad habit you can't quit.

Is it perfect? No. The third act's ambition occasionally outpaces its grip, and not every metaphor sticks the landing. But perfection's overrated. Eddington's a ride-a nasty, hypnotic, memorable ride. Aster's not asking you to like it. He's daring you to look away.

My advice? Don't.

I can only tell this is gonna be a very polarising film, people are going to love the ambition from Aster or call it a convoluted mess.

Depending on your views during the 2020s will severely determined your outlook on this film. Are you able to laugh at the insanity or remain serious at the severity of events that transpired.

Eddington is ultimately a satire on the comedic ridiculousness and tumultuous times of the 2020's. Eddington in itself is the main character. It's a macrocosom of events that impacted the US but obviously ramps them up to 11.

I appreciate the craft and the film was at its best when it was reminiscent of the Coen's No Country For Old Men. The 2nd act elevated the implemented satire to a contemporary western crime thriller.

The film is hit or miss in its summary. I understand the message and themes but at some points the execution is lacking. I feel like it tried to juggle a lot of themes and messages. Maybe sticking to one or two would have made the film more tight and succinct.