‘Eddington’ reinforces that Ari Aster is only good in his first minutes

Some international critics argue that “Eddington” is Ari Aster’s most palatable film. This may cheer up his detractors, even if it doesn’t mean much. What we actually see is a feature on the level of Paul Thomas Anderson’s worst – “Inherent Vice” and “Phantom Thread”.

The comparison between the directors is evident, even though Anderson is far superior to Aster. There is the same air of importance of the theme and the treatment and the same type of interpretation from the cast, a kind of “cool” affectation.

Once again it is necessary to say that the director starts the film well. It was like that with “Beau Tem Medo”, which lasts even longer than this new one — an encouraging first half, an embarrassing second. It was also like that with “Hereditary” and “Midsommar: Evil Doesn’t Wait for the Night”.

In his fourth feature, Aster reminds us of one of the most terrible periods of humanity, both due to the pandemic and the resistance of many people and some governments to wearing a simple mask and avoiding crowds.

Joaquin Phoenix is ​​Joe Cross, a denialist sheriff who refuses to wear a mask and maintain distance. By treating him as a villain, the film automatically assumes itself as anti-Trump. By showing him as an influencer, the film also provides the service of showing that malicious stars can destroy the world. Exaggeration? Where does most fake news come from?

His great political enemy is Mayor Ted Garcia, played by Pedro Pascal. He is conscious and not a denier, but he has a past that is often distorted and used against him by the sheriff.

Emma Stone plays Louise, Joe’s wife, once again with makeup designed to erase her, as has become customary in the films she made with Yorgos Lanthimos. She’s a good actress who, like Phoenix, doesn’t choose her roles very well.

Louise is a catalyst for the rivalry, as she dated Ted Garcia in her youth. Ted is accused by Joe of having raped Louise in the past, a lie encouraged by the girl’s mother.

Joe hates Ted because he represents the other side, that of those who trust the advice of scientists, even if they later turn out to be exaggerated, like the resistance of the virus on a sheet of paper, boasted by Ted to his son.

It is worth reserving a few more words for the direction of actors and actresses, a kind of danger zone in this new American auteur cinema. Phoenix isn’t bad, but it’s increasingly obvious that his performance is far superior to films by James Gray or M. Night Shyamalan.

This observation says a lot about the importance that each director gives to their cast. An actor like Phoenix tends to “overact” quite often, as in Todd Philipps’ “Joker.” It is necessary for management to take control, which does not always happen. And it doesn’t happen in “Eddington.”

This also goes for Emma Stone. The actress can be excellent and exaggerated with the same director. Conclusion we reached with the comparison of two Woody Allen films — “Magic in the Moonlight”, in which she is great, and “The Irrational Man”, in which she is not very good.

In this new feature, Stone appears faded, without any shine. It’s intentional, yes, but it’s part of the director’s misconception that people around the villain look that way.

The villains’ brilliance often depends on supporting characters that serve as ladders, that surround them with a type of inspiration for evil, or even function as a counterpoint to the villainy. Joe Cross is not an exemplary fascist, to be hated by many moviegoers. He’s just a weakling, a coward who hides behind a gun and a badge.

“Eddington” sustains itself minimally while constituting the climate that prevents us from the frequent possibility of violence. Unfortunately, when things start to happen, the film starts to go downhill, coming to seem like a bad pamphlet in some scenes.

Ari Aster, once again, has no idea how to continue the plot after introducing the characters and establishing the tense situation. And in the final 15 minutes, it goes downhill.

EDDINGTON

When in theaters

Classification 18 years old

List Joacquin Phoenix, Pedro Pascal and Emma Stone

Production United States, United Kingdom, Finland, 2025

Directed by Ari Aster