IMDb.com
By Keith Walther
The Covid-19 pandemic, shutdowns, masking policies, social distancing, the BLM movement, riots, ambushes of police officers, and the increased influence of social media are all represented in this film set in 2020. “Eddington” is a fictional contemporary western story inspired by the real-life events that shaped this tumultuous year in America. Featuring two Oscar winners, an Oscar nominee, and a popular actor who seems to be in every other production this year, there is no shortage of talent, but a lengthy first act makes this an arduous grind.
It’s May of 2020, smack in the middle of the pandemic, and a small town in New Mexico called Eddington is feeling the brunt of the crisis. Ted Garcia (Pedro Pascal) is the mayor of this town and is up for re-election, standing firm on a platform of supporting the Governor’s decisions on business shutdowns and masking policies, while trying to bring the future to this rural community in the form of a new data center. Sheriff Joe Cross (Joaquin Phoenix) opposes everything Garcia stands for, throwing his hat into the ring for the title of mayor with a personal axe to grind involving a sordid history about his wife, Louise Cross (Emma Stone).
Between this contentious campaign and the national impact of George Floyd’s murder in Minneapolis, a powder keg of discontent erupts in the small town, leading to demonstrations and rioting. Unable to keep the peace with his limited resources, a growing rift with his wife at home, and public embarrassment at the hands of his rival, the sheriff reaches his breaking point, culminating in an explosive climax.
Writer/director Ari Aster is an eccentric filmmaker who specializes in weird as evidenced by his previous films like “Midsommar” and “Beau Is Afraid.” As he’s done in those films, he creates a gruelingly long narrative involving reprehensible characters that audiences will have difficulty feeling connected to, leading to a measure of ambivalence. On top of this, Aster bloats the film with too many themes that range from racial activism to conspiracy theories that do represent the time but are embellished to the point of distraction from the main plot. However, Aster does a good job to remain objective while depicting these polarizing themes, avoiding imparting his opinion one way or the other. Instead, he makes fun of both sides in an almost cynical way that manufactures some amusing dark humor focused on the political left and right.
“Eddington” is certainly Aster’s most ambitious project to date, fashioning a story that incorporates the craziness of 2020. While it plods along at a slow pace for the first couple of hours as a clearcut satire, he completely shifts gears for the final act, turning the production into a fast-paced thriller. While this is a sudden and complete tonal shift of the plot, Aster relies on his horror roots to craft some exquisite moments of white-knuckled tension. Much like his previous works, he incorporates wonderful cinematography that really emphasizes the horrific moments in the final act.
Even though the characters are not very appealing, the cast provides some knockout performances that at least make them watchable. Oscar winner Joaquin Phoenix (“Joker”) is methodical in his approach to this role, initially showing profound weakness, especially in situations of conflict, only to turn his shame into a volcanic eruption that sets the dominoes in motion. It’s a display reminiscent of Michael Douglas in “Falling Down.” Although, there are several moments in the first half of the film where his meekness subdues his dialogue, making it difficult to discern what he’s saying.
The rest of the supporting cast play their unlikable parts well, with Oscar winner Emma Stone (“La La Land” and “Poor Things”) leading the way. She portrays her character with a depressed mental anguish as the sheriff’s wife, clearly feeling trapped with her odd artwork as her only outlet until she crosses paths with a radical cult leader. Oscar nominee Austin Butler (“Elvis”) plays this zealot, and he does a fine job of imbedding this character with an infectious intensity that sparks new life in Stone’s character. Then there’s Pedro Pascal, who has been working at a feverish pace. The likable actor is somehow made to be unlikable in this film, imbuing his dialogue with condescension and purposely provoking Phoenix’s character. In less than a week, Pascal will return to the theater with the much anticipated “The Fantastic Four: First Steps.”
Cynicism and satire take center stage in an overly long movie that is as entertaining as it is off-putting. “Eddington” is a reflection of the darkest moments of American society in 2020 that paints nobody in a favorable light. It’s a decent watch that sparks introspection, but it’s a slog to get through, so it is best to wait and view it at home in your own time.
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