Eddington

Ari Aster’s Eddington is such a superb social satire about contemporary America that I want to bury it in the desert for 20 years. More distance will make it easier to laugh.

Eddington isn’t a movie that moralizes, but at the same time it doesn’t take the stance that both sides make some good points. Rather it’s a period piece about recent history that articulates why everything feels so doomed right now while still finding the space to be utterly ridiculous.

Its low-level strangeness jumps to surreal and gory heights – and it keeps going higher until it hits a peak of gonzo high-adrenaline fun that leaves you reeling and breathless. Many viewers will have had enough of the film long before then, but there is something heroic about Aster's uncompromising determination to go his own way.

The film never interrogates why the early pandemic led to so many ideological conflicts, but it suggests that the prognosis is bleak for those who continue to venture too far into the internet’s noxious rabbit holes. Being too online, in other words, can be its own kind of sickness.

No genre really makes more sense for this moment than horror — except, maybe, for black comedy, and Aster’s bracingly nasty but centerless new film offers plenty of both.

In certain moments, the film’s absurdism recalls that era’s paranoia and volcanic anger, but too often Aster overshoots the mark, collecting the period’s signature elements without finding much that is smart to say about them.

America undoubtedly needs serious artists to explore the brain worms that the pandemic era gave the body politic, but Eddington most definitely ain’t it.

Aster did it again, so glad someone out there is able to take big risks on productions like this

Eddington is Ari Aster doubling down on his most experimental phase, and the result is as fascinating as it is uneven. Set in the midst of a pandemic, the film mixes paranoia, social criticism, and cultural absurdities in a melting pot of ideas that don't always find room to breathe.Joaquin Phoenix carries the film on his back, delivering one of the most intense performances of his career, while a powerful cast is sidelined to serve the protagonist's paranoid spiral.Aster takes risks, tests limits, and delivers truly engaging moments, especially in the first act and the denouement. But the excess of themes and the bloated narrative make the experience tiring, with ups and downs that dilute its emotional impact.Ambitious, chaotic, and at times brilliant, Eddington is a film that arouses interest but hardly wins you over completely. It is Aster insisting on a rare kind of cinema and perhaps still searching for balance within it.

Oh my god, yet another A24 film where I don't know if this is good or not. Look, it's an entertaining film because it deals with everything that transpired in America during COVID, but honestly, I wouldn't recommend this to anyone to watch unless you need a recap on reality...delusional reality. 6/10, it lacks what many forget, that is, emotional connections.

Incredibly long winded and slow, for no major payoff and with little interest between scenes. Aster has just steadily declined since his first film, and has now resorted to thinly-veiled propaganda in an awkward, fumbling attempt to try and derive and edgy or alternative take. It's just more hollywood slop, out of touch with audiences or contemporary culture. Dull characters, dialogue and context make it a snoozefest. Thanks, no thanks.

石头姐最近的一些影片怎么都是这种奇奇怪怪很难评的啊？ 刚看开头对COVID的展现的时候，觉得这片还挺有意思。但是到后面成了2020社会热点大杂烩，也不知道到底在干啥