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Eddington Ratings & Reviews
- thomasrogers7533d agoWas not for me
- Hipster ZOMBIE4d agoA24’s Eddington might just be the most daring film of the year—if not the most divisive. Directed with a stubborn refusal to flinch from controversy, director Ari Aster’s movie tackles the Covid era head-on, diving into the messy, conflicting narratives of lockdowns, mask mandates, and the broader cultural battles that tore people apart. Where most films still dance around the pandemic, Eddington charges in, unafraid to question the logic of the lockdowns, the performative side of mask culture, and the way movements like Black Lives Matter that was co-opted by bad actors more interested in chaos than justice. Vilifying the police and praising a criminal martyr. It’s not a comfortable watch, but that’s the point. The film’s greatest strength lies in its balance—refusing to paint one side as entirely right or wrong. It captures both the fear and desperation of those who clung to official narratives, as well as the frustration of those who saw the policies as overreach and manipulation. It’s rare to see a movie genuinely attempt to hold the middle ground while still calling out the absurdity of certain cultural flashpoints, and Eddington earns its points for that alone. Joaquin Phoenix and Pedro Pascal deliver powerhouse performances. Phoenix, in particular, vanishes into his role as a weary small town sheriff spiraling under the weight of conflicting truths. Pascal is equally magnetic, playing a character who’s morally ambiguous, a man caught between duty and rebellion but ultimately playing the system. Their chemistry is electric, grounding a story that could’ve easily become preachy. But then there’s that third act. Out of nowhere, Eddington shifts gears into what can only be described as an over-the-top, 80s-style action bloodbath. It’s jarring—buckets of blood, explosions, and brutal gun fights that feel like they wandered in from a different movie. While some will find it bold or darkly funny, others might see it as the film completely losing its mind. It’s a gamble that doesn’t entirely pay off, though it’s undeniably memorable. The film closes with an eerie allegory of Joe Biden, as Phoenix’s character—once sharp and defiant—becomes physically broken and mentally dulled, a hollow shell of his former self. It’s unsettling, almost cruel, but also strangely effective as commentary on leadership, decline, and the cost of power. Eddington is messy, controversial, and not always coherent, but it’s also one of the few films willing to take the full temperature of our current cultural hangover. A24 has released something that will be argued over for years—and for that alone, it’s worth seeing.
- Austin BurkeJuly 20, 2025Eddington is a huge swing. It’s an ambitious series of ideas that lack any form of cohesiveness until the story begins to find its footing at the halfway point. Its broad scope of talking points is fascinating in a vacuum, but navigating through this madness makes for an uneven and often overly convoluted result. When everything comes together, especially during its third act, it features some of the best filmmaking of the year. Unfortunately its tonal inconsistencies and lack of focus keeps it from being that masterful product Aster is aiming for.
- Alex | Pop Culture BrainJuly 18, 2025I hate to say it, but maybe A24 should stop writing Ari Aster blank checks. I saw Eddington, so here's the good and the bad without spoilers. In case you're not aware, Eddington is Ari Aster's new neo western set in a small New Mexico town in the summer of 2020, and it's one of those uniquely frustrating movies because you can see the wasted potential. Aster puts forth a lot of interesting ideas in this darkly comic, skewed mosaic of America during lockdown. He evokes the tension and paranoia of that time pretty well, albeit with very broad strokes and the actual plot mechanics, up until the third act, are surprising and compelling, even as he relies on archetypes and tropes. There's also that welcome dash of Aster's signature eerie weirdness, which I really appreciated and Joaquin Phoenix is solid. So is Pedro Pascal. Aster also builds a strong sense of place with the New Mexico setting. But that's where I run out of compliments because this movie is kind of a mess. In the end, Aster can't cohesively land on what he's trying to say. He's just throwing everything at the wall and hoping it amounts to something. There are scenes and sequences where I was absolutely riveted, and then other stretches where I was completely disengaged, put off by the excessive, self-indulgent filmmaking. And just when you think, okay, he's finally nailed down the big idea behind this movie, he invents some surreal nonsense in the third act that completely undercuts the first two thirds of the film. I still think Aster is a director to watch, but maybe he just needs a good editor.
- Kevin Ward5d agoAbsolute depiction of horror. Left out a few other horrifying things from the time period. Like being forced to home school our children. Technically impressive filmmaking and I was on board, up until I wasn’t. Probably will take a rewatch to locate what Aster is actually getting at here, but for a film so loaded with political ideologies and characters occupying varied and nuanced positions around them, there doesn’t really feel like there’s much exploration or conversation about them. It all just feels like it’s there almost purely to locate the time period and drop us in the middle of these horrors.
- Nathan Magreta7d agoThis movie has a lot of good, but also a lot of bad. On the good side, this movie really shows social media's influence at the time, and the problems at the time, but it is awfully paced and has Pedro Pascal as wasted potential, (which should be a crime). Still, I would give it a solid 7/10.
- cultfilmlikerJuly 22, 2025Do I know what it means? No. Do I know what I just saw? No. Did I have fun? Yes. And that’s all that matters. Somehow forgot how visually detailed Ari Aster’s films are? Couldn’t fully see everything so I’ll wait for a proper rating! Excited to rewatch at home! Note: Sat directly next to two nice old ladies who arrived 30 minutes into the movie that started 25 minutes after its listed start time. They audibly gasped anytime anything violent happened and laughed at jokes I can not believe they totally understood. One woman even ordered some food from the kitchen and got buzzed 5 minutes after sitting down. Later, that same woman was gone for a good 20 minutes and upon returning the other lady asked, “Are you okay?” Surprised by the question, she proudly (read: loudly) responded, “Yeah! Well, no, because I have diarrhea! But…” So clearly a great time was had by all
- Eric BakkeJuly 22, 2025Ari Aster has made some incredibly memorable—and deeply unsettling—films, but for me, Eddington is his most frightening. What’s more terrifying than being manipulated by misinformation and online influencers in the middle of a nightmarish pandemic? At first, I was frustrated by the film’s seemingly simplistic take on complex social issues we’re still debating today. But that, in a way, is the power of satire: it exaggerates in order to expose truths we might otherwise ignore. And good satire doesn’t just critique—it entertains and provokes thought. For the most part, I think Aster pulled that off with Eddington.
- russrev1ewsJuly 19, 2025I really wanted to like this movie, but the absence of Aster’s magical realism and the close proximity of the inciting events made the film somewhat of a slog to watch—perhaps he should have waited until 2035.
- RickJuly 18, 2025The real horror is having to relive early 2020 again. This film is packed with little goodies and details. I’m looking forward to giving it a second watch. In typical Aster style this movie takes some wild turns that leave you thinking WTF.
- Kit LazerMay 21, 2025Beau Does Not Get Laid
