‘Eddington’ review: Ari Aster misfires as Pedro Pascal and Joaquin Phoenix face off

Comedy is at times also tragedy. Perhaps there will come a day when critics will look at Ari Aster’s COVID-19 comedy edington With kind eyes. However, just five years after the virus pushed the world into lockdown, we are still living in the brutal realities created by a pandemic that not only took millions of lives, but polarized American politics with catastrophic consequences. So, watching movie stars wise up about face masks, conspiracy theories and political rivalries? Now, this isn’t funny. This is mostly irritating.

Best wishes to Aster for his continued fearlessness. Writer/director finds success with his daring debut film hereditarythen cemented his reputation as an American filmmaker to watch with its thrilling follow-up midsummerWhich in turn helped bring Florence Pugh to stardom. Then, he made his fans (and critics) think about it Beau is scared, which starred Academy Award-winner Joaquin Phoenix in a prolonged brooding assault of a movie that subverted the genre and ended with the epic revelation of a giant penis monster.

For Eddington, Aster re-teams with Phoenix, who once again plays an anti-hero obsessed with his failings rather than his virtues. But this time, the punchline isn’t one of mom issues or social anxiety. Instead, the New Mexico-set edington Makes fun of both sides of the political divide. But far from being even-handed or all that funny, the result is a film that could be seen as a wild ride if it succeeds in landing it. Instead, it’s a bizarre head-scratching device that feels more smug than sharp.

Joaquin Phoenix is ​​a right-wing clown Eddington.

Joaquin Phoenix plays Sheriff Joe Cross in “Eddington.”
Credit: A24

At a glance, Joe Cross (Phoenix) is a familiar American icon with his white hat, cowboy boots and sheriff’s badge. He is a lawman who fights against the injustice of a wild world in which there is no decency. In a western, he’d be the good guy, except that Aster consistently undercuts this American icon both visually and contextually in this western/thriller/comedy. For example, Joe is shown patrolling an area that is outside his jurisdiction in tribal territory, leading to a confrontation with Native American police, who chastise Joe for trespassing and violating the mandate by not wearing a face mask (both tribal officers are unmasked).

On one hand, Joe is sitting alone in the car. So, yes, wearing a face mask is unnecessary, even absurd. But Joe will continue to push the issue of masking by intentionally making his neighbors uncomfortable because he goes to a grocery store where everyone is masked and keeping a six-foot distance from each other. His frustration at what he sees as an attack on his freedom leads him to launch a desperate campaign against the beloved Eddington mayor, Ted Garcia (Pedro Pascal). But the more Aster reveals about Joe, the more it becomes clear that the mask is not about independence, but rather Joe asserts dominance wherever possible, so he can feel like a man.

At home, Joe is abused by his evil mother-in-law (Deirdre O’Connell) and barely accepted by his depressed wife, Louise (Emma Stone). While on the job, he falls into the shadow of the acclaimed sheriff who came before him, his late father-in-law. Unable to live with the ghost of the man who metaphorically haunts her in her personal and professional life, Joe chooses another target for her anger: Ted Garcia.

Joe chooses Ted not only because the mayor is more liked than him, but also because Ted is Lewis’s ex. Who is jealous of their shared past, which he considers reprehensible. All of this leads Joe down a path that vaguely resembles the Coen Brothers in its stale Americana and self-destruction. But whether he’s creating hastily promotional posters with embarrassing misspellings or diving into the violent fantasy of being an American action hero through frenetic and impromptu battle scenes, Joe is undeniably a clown.

Although the hero of Hereditary, Midsummer, And Beau is scared He was deeply flawed, and Aster also found an opportunity for us to connect with his heartache and anxieties. We were as scared as they were, or even more scared for them than they might have been for themselves. Which, however, is not widely developed or reliable. He is a disgusting illustration of the anti-mask movement and all its toxic masculinity and privilege. Pushing this symbolism past its breaking point, Aster also works in subplots where Joe must deal with online conspiracy theories about child abuse and a flurry of Black Lives Matters protests organized by a local white girl (Amelie Hoeferle), who is often on the verge of tears.

Criticism is uneven and superficial Eddington.

Emma Stone and Deirdre O’Connell play daughter and mother in “Eddington.”
Credit: A24

In the quiz for the press after the screening of Eddington, Aster hoped the film would speak to both sides of the political divide. He further added that the final act – which involves a lengthy shootout – can be read completely differently depending on which side of the divide you are on. But frankly, he misreads his audience. The film is not that textured. The climax, chaotic and terrifying, is shocking, but not frightening.

Joe and his family provide plenty of opportunity to make fun of their anti-mask attitudes, Pizzagate conspiracies, and general “fuck your feelings” MAGA attitude — though Aster tries to have it both ways by not using such explicit words. By contrast, Mayor Garcia is a mild sycophant of liberal politicians. Where Joe is tough, speaking like he’s spitting, Ted is decidedly soft-spoken, and listens to Katy Perry while being entertained. (“Fireworks,” naturally.) In a promotional video for his campaign, Ted recounts a tragic personal memory to win sympathy, then inexplicably plays the piano in the middle of the dirt streets of Addington. It’s a gentle take on bizarre political advertising. But when Aster mocks the left’s virtue signaling via a subplot about Ted’s son (Matt Gomez Hidaka) using political tactics to impress the aforementioned female protester, the sarcasm feels like a push rather than a punchline.

Perhaps that’s because both sides of the argument, as Aster presents them here, are not equally worthy of ridicule. Perhaps this is because the weaknesses of one side can lead to difficult moments, while the weaknesses of the other side can lead to death and disaster. But across its two-hour-and-28-minute runtime, Aster doesn’t uncover anything so deep or surprising about this divide as how dangerous it can be. Neither side will learn much new about themselves or their perceived opponents by watching edingtonIt’s hard to say whether more time would make any difference or not,

While the cast remains committed to Aster’s vision of this New Mexico town, depth is lacking. That a cop has a thirst for control, that a smiling politician has a dark side, that a sad woman has hidden pain – none of this is surprising. As yet edington Treats each revelation with contemptuous giddiness, as if they were all deeply transgressive. The result is a film that feels sentimental, but is ultimately shallow and dirty.

Far from being a thriller, its trailer shows, edington is a whimsical dark comedy that mistakes empathy for weakness, offering plenty to provoke a reaction but little to provoke thought.

edington Now streaming on HBO Max.

Updated: November 12, 2025, 5:17 pm This review was first published on the occasion of the film’s theatrical premiere on July 18, 2025. It has since been updated to reflect home viewing options.