Eddington Review

“It’s not here.” That’s what Sheriff Joe Cross (Joaquin Phoenix) keeps saying in Ari Aster’s Eddington, which takes place in May 2020. Eddington is a small, isolated, and fictional town in New Mexico. Yet, it’s not immune to what’s happening in the rest of the country. Social unrest triggers protests led white people ironically more outraged than some people of color, social media is like a drug that mixes comfort with intense depression, and neighbors go to war over masks. For its first hour and a half, Eddington is a photograph of the early pandemic, standing out from anything Aster has made before. It’s not until the final hour that Eddington becomes an Ari Aster movie, for better or worse.

In a town with few authority figures, Sheriff Cross finds himself in a dick measuring contest with Mayor Ted Garcia (Pedro Pascal). That might not be the most eloquent description, but it essentially sums up their rivalry. With Garcia seeking reelection, Cross throws his hat into the ring. Two things fuel Cross’ hatred for Garcia. First, Garcia insists that everyone in town wear masks, a mandate that Cross refuses to practice. Secondly, there’s a rumor that Garcia sexually assaulted Cross’ wife Louise (Emma Stone) years ago. Of course, the source of this rumor is Louise’s mother (Deirdre O’Connell), who spends all day reading, emailing, and printing out conspiracy theories.

It’s also notable that Cross is white while Garcia is Hispanic. Where Garcia lives in a spacious mansion, Cross finds himself in a cramped home with his wife and mother-in-law. Cross is so focused on being disenfranchised that he overlooks George Floyd’s murder. That is, until protesters take to the streets. With only two deputies by his side, Cross can’t even fulfill his duties as sheriff. Not only is he unfit to run a town. He can’t run his own life. In an attempt to take control, Cross begins to spiral, as does the movie.

In its last hour, Eddington goes from a grounded exploration of COVID to an unhinged thriller. On one hand, the latter is what we’d expect from the director who gave us Hereditary, Midsommar, and Beau Is Afraid. Where those films all had a consistent tone throughout, though, Eddington does a 180. The result can feel like two different movies. One is relatable and still relevant five years later. The other is self-indulgent, overblown, and confused in its messaging. The film also lets several subplots and characters fall by the wayside, including a cult leader played by Austin Butler.

For all of the third-act issues, those first two do tip Eddington in my favor. Had Aster stuck the landing, this might’ve been the first truly great narrative film about the pandemic. Some might say it’s too soon to make a movie about COVID. People said the same thing about 9/11, but United 93 would be one of the early 2000s best films. Eddington may not go down as one of the all-time greats, but it will likely be remembered as an interesting time capsule. It won’t be the last film to touch upon COVID either. Whether those future films are good or bad, Eddington is a harrowing reminder to 2025 audiences that stories set in 2020 can officially be considered period pieces.