Writer-director Ari Aster’s latest film, “Eddington,” delivers a modern western and thriller set in New Mexico during the tumultuous summer of 2020. Isolated and sheltered in place during a global pandemic, a nation under pressure found itself sifting reality through the haze of social media and gradually losing its collective mind.
The film stars Joaquin Phoenix as Joe Cross, a small-town sheriff who runs for mayor against progressive incumbent Ted Garcia, played by Pedro Pascal. When set against the backdrop of increasing COVID-induced uncertainty, this standoff creates a paranoid tension that only grows stronger as “Eddington” tumbles down a wild rabbit hole.
For a film like “Eddington” to work, it cannot rely solely on an enticing central plotline. It must also conquer the difficult task of handling recent, divisive social issues — from the COVID-19 pandemic to racism, rioting, social media and more. There is no attempt to shy away from any of these modern American issues: each one stands boldly front and center.
The delicate method in which Aster goes about handling the sensitive political situations of 2020 results largely in success. He does not seek to present his opinion on any issue, but instead focuses on characters who react to them in deeply human and authentic ways. Citizens of Eddington from both sides of the political divide get ample screentime, and their flaws reveal themselves on full display. Aster strikes the perfect balance of finding humor in this unusual period for America, while also managing to avoid making light of the serious controversies.
“Eddington” shines the most when it leans into the absurd political drama set up in the film’s first two acts. The setting, characters and relationship dynamics prove thoroughly investing, and the dispute that arises between Sheriff Cross and Mayor Garcia has an intriguing history that gradually unveils itself to the viewer throughout these introductory acts. As more unfolds about the relationship between the two rivals, a multitude of other conflicts simmer in the background. Each thread plays its own part in capturing the essence of a small town slowly unravelling into chaos, making this hour and a half of rising tension a real standout.
The third act of “Eddington” possesses highs and lows. On one hand, astounding standout moments emerge, like the extended action sequences. The conflict during the film’s finale feels delirious and almost dreamlike as Aster finally allows himself to go off the rails, leaning fully into the brutality present in some of his previous work like “Midsommar.”
Besides the action scenes, the final act concludes such an intriguing setup in a messy and disappointing manner. Plot threads introduced earlier in the film screech to a halt, and some character developments feel unearned. The political/western intrigue completely disappears in favor of chaos. Characters like Joe Cross take radical action so suddenly that it’s jarring. Aster’s intention may have been to shock the viewer, but a problem arises when everything after this major development becomes noticeably less interesting than what came before. Outside of the action, a noticeable lull in pacing becomes clear as the film winds down its bloated runtime with an out-of-left-field attempt at irony which doesn’t add anything of depth.
“Eddington” is a mixed bag. Despite the significant flaws in its final hour, so many aspects of the film remain admirable. The way Aster has captured the chaotic essence of 2020 constitutes an impressive feat that carries this modern western a long way. The characters feel real, the cast puts on excellent performances around the board and the action remains relentless. If only it had stuck the landing.