Ambitious and overflowing satire critiqued in Eddington review
Ari Aster, the acclaimed writer-director behind Hereditary and Midsommar, has returned with a new black comedy film titled Eddington. Set during the COVID-19 pandemic, the film follows small-town sheriff Joe Cross, played by Joaquin Phoenix, as he runs for mayor against Pedro Pascal's character Ted Garcia.
Eddington presents itself as a modern Western with stunning visuals from cinematographer Darius Khondji. Lucian Johnston's editing in Eddington leads to some very clever transitions that give the film a distinctive visual and auditory style. The slow first half of the film builds up excitement, but the story seems to run out of steam by the time it crosses the threshold.
The film immerses its audience with several long takes that incorporate a variety of camera shots and sounds, including Katy Perry's "Roar" and Joe's asthmatic breathing. It attempts to tackle numerous social issues but leaves the story feeling unfocused due to the multiple subplots. Deidre O'Connell's character, Joe's paranoid mother, suddenly acts more sensible in the film.
Joe Cross, in his pursuit of power, starts killing his "enemies" in shocking moments and tries to pin his crimes on a social justice advocate and a Black police officer. Austin Butler's character, Vernon Jefferson Peak, projects an odd yet hypnotic aura that draws audiences toward him. Emma Stone's character undergoes a transformation into a zealous conspiracy theorist, which seems rushed.
The film's brutal satire and chaos are a mirror to societal fractures, especially the pandemic’s impact. It mixes arthouse sensibilities with sharp cultural commentary, making for a farcical and dazzling film. Aster's writing in Eddington is meticulous, with many small details that tie the film's plotlines together later on.
However, the film's overly busy and sprawling narrative attempts to satirize too many topics, sometimes losing focus and emotional impact. The lead performance was described as misjudged or unable to fill the film's central void, affecting the emotional core. Some found it disorienting and exhausting, with a lengthy and complex structure.
Despite these criticisms, Eddington is seen as an ambitious, challenging, and polarizing film that appeals to those interested in daring, satirical, and provocative cinema. It may frustrate viewers expecting a more focused or emotionally satisfying narrative. Eddington is now playing in theaters.
[1] IndieWire
[2] The Guardian
[3] Variety
[4] The Hollywood Reporter
[5] RogerEbert.com
[1] IndieWire criticized the overly busy narrative of Eddington, stating that it attempted to satirize too many topics, sometimes losing focus and emotional impact.
[2] The Guardian admires the satirical and provocative nature of Eddington, praising its ambitious and polarizing approach. However, some viewers may find it disorienting due to its complex structure.
[3] Variety found that Aster's writing in Eddington was meticulous, with many small details that tie the film's plotlines together later on. Yet, they criticize the lead performance for being misjudged and unable to fill the film's central void.
[4] The Hollywood Reporter notes the film's brutally satirical portrayal of societal fractures, along with its mixture of arthouse sensibilities and sharp cultural commentary. However, they mention that these elements may not resonate with audiences expecting a more focused or emotionally satisfying narrative.
[5] RogerEbert.com points out that the unexpected death of Joe's paranoid mother in Eddington, while it makes for a plot twist, seems rushed. They also highlight the film's attempts to tackle various social issues, which leaves the story feeling unfocused due to the multiple subplots.
