Ari Aster's ‘Eddington’ is polarizing in initial reviews

Famed director Ari Aster’s newest project, Eddington is out, much to the excitement and anticipation of his fans.

Described as a Western/Comedy, the synopsis reads, “During the COVID-19 pandemic, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbour is pitted against neighbour in Eddington, N.M.”

It features major stars including Pedro Pascal, Emma Stone, Joaquin Phoenix, Austin Butler and more.

What are audiences saying?

One user expressed their satisfaction with the fact that they had ignored all critic reviews before watching, “Ari Aster has made another horror film. This one is disguised as a modern day Western, Dark Comedy, but this is deep diving stuff that inserts us into a small New Mexico town in 2020 that is at the beginning stages of the COVID pandemic. Joaquin Phoenix is the tour guide - and the ride - who shows us something of what is wrong with the world.

Eddington took me back to feelings of despair that play on in our world. This is a most excellent tragic tale and definitely not a comedy, although the audience will probably laugh in the discomfort of seeing the true reflection of ourselves somewhere in this mirror of blame, conspiracy, narcissism, and social rage.”

Another user agreed with some of the common criticisms that viewers have leveled its way, “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.”

“However, Eddington often falters under the weight of its own ambition. The narrative, overstuffed with themes ranging from political polarization to performative activism, lacks the coherence necessary to deliver its message effectively. While Aster critiques both the far-right and the performative left, the film's satire occasionally veers into cynicism, offering little in the way of nuanced commentary.

The film's pacing suffers as well; its 145-minute runtime feels bloated, with sequences that drag and moments that seem indulgent rather than essential. The tonal shifts-from dark comedy to horror to political allegory-can be jarring, leaving the audience disoriented rather than enlightened.

In the end, Eddington is a film that strives for profundity but often settles for spectacle,” concluded another viewer.

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