Eddington

It’s clever, serrated, and not bad, but you wouldn’t call it Aster at full mad tilt.

Ari Aster transforms everyday American insanity into one of the most artistically complete and compulsively watchable doom-scrolls of the year.

Whatever glancing insights [Ari Aster] achieves early on are squandered in a second act that descends into sniggering superiority, cartoonish violence, and generally stultifying tedium.

Eddington is only a partly coherent mishmash of tones and ideas: sincere and satirical, astute and self-obfuscating. The one thing it is completely is ambitious.

The movie means to overwhelm, and it does, its frames packed with so many sight gags and reference points that it’s impossible to take them all in on a single viewing, and only a masochist or a die-hard would return for a second look.

While Eddington has a very starry cast, Phoenix is his anchor. Joe is a tricky role.

Eddington throws together the Western, the noir, and the thriller in a satiric stew.


Exhausting in the way bad satire always is, so pleased with itself that it forgets to entertain, to illuminate, or even to bother making sense.

Ari Aster's Eddington captures the social horrors and political divide of the COVID-19 pandemic through hilarious black comedy that hits harder all these years later. However, the movie adds very little fresh substance to these real-life topics.

Although its satiric elements lack a bit of sharpness, Eddington is a thought-provoking contemporary western that examines the scary realities of the post-pandemic world. [Full Review in Spanish]