User Reviews

Dans les années 30, un couple de fêlés va faire son Kon-Lanta aux Galapagos... car en effet, Kon-Lanta existait déjà dans les années 30 mais on ne le savait pas. Cependant, voici qu'ils sont rejoints par un autre couple de frappadingues et leur môme. Bien sûr, ils sont végétariens et ils mangent bio. Puis, un peu plus ****, voilà-t-y pas qu'une baronne bling-bling et ses deux blaireaux débarque à son tour ! je ne sais pas ce que vous en pensez, mais on a déjà là de quoi faire un très bon dîner de cons, avec tous ces champions du monde d'un fort beau gabarit, ma foi. Bien entendu, tout ne se passe pas comme prévu et certains échouent à l'épreuve d'immunité... mais il faut attendre... c'était à quel moment déjà... oui, vers 1h30 ou 1h45... soit presque à la fin du film fatigué qui se traîne comme un rat mort. Ou un hareng plutôt, oui, le film se traîne comme un hareng mort ! mais on ne le savait pas, ça non plus. Mais attendez quand même, il y a trois belles nanas dans ce film, ça fait toujours plaisir. Il y a aussi un vieux bellâtre un peu rageux, oui, un petit peu quand même. Il a fait de la muscu, on l'a vu rager sur son banc, ce vieux rageux encore beau : il répétait "je suis un vrai acteur, maintenant, je suis vieux et bien vénère, bordel de merde !!". Et pour vous le prouver, dans le film, il montre sa bite. Mais il est temps de conclure, car le conseil, c'est maintenant : à l'unanimité, il a été décidé que tu es un film rasoir, inutile et futile qui brasse des courants d'air et enfonce des portes ouvertes. En conséquence de quoi, il est temps de rentrer à la maison : tu as besoin de te reposer.

Venessa Kirby's acting mannerisms have grown tiresome. Jude Law can't find a good role. Why even make a film like this? I only watched it to see Ana de Armas. But even she was underwhelming. "Eden" was poorly constructed. I don't recommend it.

The heavy expositional dialogue and the fake German accents suggest that Ron Howard stalled out in the nineties.

For seemingly as long as mankind has been around, our species has earnestly sought to escape the world’s ills, searching for paradise in ambitious attempts to start anew. These quests to reinvent the human condition have been found in an array of source materials, too, from Thomas More’s Utopia to the plots of James Bond movies to the Biosphere II experiment. Nearly all of these grand plans, however, have remained virtual, stayed locked in literature, or, despite good intentions, failed. One such initiative with these notions in mind was launched by a pair of German emigres who fled their homeland in 1931 for a hoped-for simpler way of life on the island of Floreana in the Galapagos Archipelago, a place where they could live out their idealistic virtues undisturbed. And their fact-based story provides the basis for this latest offering from writer-director Ron Howard. The film chronicles the saga of Dr. Friedrich Ritter (Jude Law), a former physician who sought refuge on the island to write a manifesto about the values needed to set humanity on a new course in an era of out-of-control influences and the rise of fascism, and his partner, Dore Strauch (Vanessa Kirby), who was looking for a natural, meditative way to cure her worsening multiple sclerosis. However, as word of their courageous venture began to spread far and wide, their experiment captured the attention of the curious, particularly those looking to follow their lead, such as a trio of adventurous homesteaders, disillusioned German functionary Heinz Wittmer (Daniel Bruehl), his kindly, soft-spoken wife, Margret (Sydney Sweeney), and their tuberculosis-afflicted son, Harry (Jonathan ****). Then there were the unabashed opportunists, such as self-described Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), a hedonistic, less-than-veiled con artist seeking to build an exclusive luxury hotel on the island with a posse of suitors in tow. The peace that Ritter and Strauch sought quickly evaporates with the appearance of the new arrivals, especially when relations become strained and tensions rise among them, prompting the original colonists’ agendas to be compromised or abandoned. And, before long, paradise found turns into survival of the fittest, an ironic twist given the venue in question. In bringing this dark tale to life, the filmmaker presents viewers with a decidedly raw story, one that represents a marked departure from his typical fare, an edge-of-your-seat release with a hefty (though not gratuitous) helping of violent and erotic imagery. At the same time, the narrative is beautifully counterbalanced by its gorgeous cinematography featuring positively beautiful shots of sweeping landscapes and diverse wildlife, all backed by another suitably atmospheric score from composer Hans Zimmer. The picture also boasts a strong and engaging story said to be quite on the mark for its authenticity. However, for all of these strengths, “Eden” definitely would have benefitted from a better screenplay, one that’s less melodramatic and avoids the temptation to play like a 1980s Prime Time soap set in an exotic locale. In addition, the script is at times obviously overwritten, going out of its way to deliberately drive home its points when a little more nuance and subtlety would have been more effective. Thankfully, the performances generally make the dialogue look better than it actually is, particularly in the portrayals by Kirby, Sweeney and Bruehl, though de Armas and Law would have been wise to tone things down a few notches to keep things from coming across as a tad too campy. As it stands now, this is certainly a commendable production that has much going for it, one that could have been significantly improved upon with a few of the aforementioned tweaks. It’s an intriguing, little-known tale that takes place in a distinctive setting and time frame with colorful characters, qualities that genuinely help to set it apart, while simultaneously presenting a familiar cautionary tale that we as a species just never seem to grasp. Try as we might to make a better life for ourselves, unfortunately, we invariably appear to keep falling prey to the curse of losing paradise. Until that changes, it seems we can use all the reminders we can get.

“Edén” resulta interesante por estar basada en una historia de la vida real, una historia inusual, rara y fascinante en concepto. Sin embargo, siento que no se logra desarrollar una narrativa lo suficientemente sólida como para atraparme por completo. Funciona como una opción para pasar el rato, pero no consigue ser memorable ni impactante.

Ron Howard delves into rougher and more desolate territory in Eden, setting aside his usual optimism to explore human deterioration in an isolated setting. The premise is strong and immediately engaging, transforming that microcosm into a field of constant tension, where ambition, vanity, and survival collide.With a star-studded cast, Jude Law and Ana de Armas manage to maintain interest even when the narrative begins to lose focus. The striking visuals and Hans Zimmer's score elevate the atmosphere to something almost hypnotic, a striking contrast to characters who become increasingly difficult to connect with.Eden has intriguing ideas and a promising start, but it loses its way along the way, alternating between thriller, satire, and drama without finding a solid emotional core. A beautiful, restless, and uneven film that tries hard, gets it right sometimes, and gets lost in its own ambition.Translated with **** (free version)

Poor character develpment, unnecesary dramatization, horrible scripting. Avoid at all cost.

'Eden' is a thriller with a star-studded cast that, nevertheless, fails to make the most of any of its actors. While the real-life premise of survival and hostile social dynamics seems interesting, the execution never finds the right angle. The heavily exaggerated accents of all the characters are also noticeable. Although director Ron Howard is clearly stepping outside his comfort zone, such a mediocre script and the darkness of the source material do him no favors.

Ron Howard amadurece seu poder narrativo e vai envolvendo o espectador em personagens bem construídos, mesmo que a cima do tom em alguns momentos, com o típico maniqueísmo que afeta a composição (especialmente em Ana de Armas). Deste modo, a proposta naturalista se esvai em um tabuleiro onde as peças realmente existiram (é baseado em fatos reais), de modo que o cartunesco faz jogar contra o filme. Ainda assim, é possível ter boas sacadas sobre nossas vulnerabilidades enquanto seres essencialmente sociais, e ameu ver mais para o lado pessimista mesmo da inafastabilidade da hipocrisia, do egoísmo e da violência humana.

DO NOT PAY FOR THIS FILM. it's pretty decent until the pregnancy begins, but becomes less plausible and less watchable as it goes. anyone with a brain would have given the celebrity lady concrete shoes well before the end of the first act as well, but the film seems focused on petty sadism. the story could be 15 minutes long and still have more depth than what there is to find in eden. i think any person interested in the topics this movie discusses should simply watch an island bushcraft video instead.

It's interesting to learn about a story based on facts, facts, an unusual and unique story – life creates the most interesting scenarios. But unfortunately, the script itself drags on, dull and sluggish. The show ends, and you're left with a "meh"… okay.

I liked this film, especially considering the fact that it's based on a true story! The acting and direction are all decent, and the story is a good one. I'd've given it more, but for the dodgy German accents, lol! Well worth a watch though!

“Eden” is a deeply engrossing compelling look at nasty, vicious characters cracking under trying conditions. The fact that all of this really happened makes this bizarre tale that much more intriguing then the film itself. Eden arrives with all the trappings of prestige cinema: an acclaimed director, a stellar ensemble cast, and a stranger-than-fiction premise based on a true story of survival, ambition, and betrayal in the 1930s Galápagos Islands. Unfortunately, while the ingredients promise an interesting story, Ron Howard’s retelling never quite ascends beyond its petty squabbles and shifting alliances. The film follows Dr. Friedrich Ritter (Jude Law) and his wife Dora (Vanessa Kirby), who flee Germany in 1929, disillusioned with modern society and eager to build their utopia on the remote island of Floreana. For Friedrich, the isolation offers a chance to finish his medical manifesto; for Dora, it’s an opportunity to find inner healing from her multiple sclerosis through meditation and the simplicity of island life. Their hard-won solitude is quickly interrupted by the arrival of Margret (Sydney Sweeney) and Heinz Wittmer (Daniel Brühl), an idealistic couple determined to forge their future in the harsh but beautiful landscape. The final and most disruptive arrival is Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), a glamorous, self-styled aristocrat with two lovers, an Ecuadorian servant, a closet full of evening gowns, and grand plans to build a luxury hotel. From the moment the Baroness sets foot on Floreana, the island becomes a crucible of clashing egos, shifting alliances, and quiet acts of sabotage. What begins as a shared vision of paradise devolves into a dangerous power struggle, where theft, deception, and outright violence become tools for survival. The stakes are heightened by brutal weather, unforgiving wildlife, and the isolation of a world far removed from help. This is probably the most intense darkest material Ron Howard has worked since the 2003 film "The Missing." Howard directs with confidence, and the production design vividly captures both the rugged beauty and treacherous isolation of the Galápagos. Yet despite its historical roots and inherent drama, Eden spends much of its runtime caught in the undertow of its characters’ petty grievances. The screenplay by Noah Pink never fully develops the psychological depth needed to make these rivalries as compelling as they should be. The result is a film that too often feels like watching neighbors bicker over fences rather than survival itself. The performances are uniformly strong. Law brings a mix of idealism and quiet arrogance to Ritter, Kirby adds quiet resilience to Dora, Brühl and Sweeney imbue the Wittmers with earnestness, and de Armas revels in the Baroness’s blend of charm and ruthlessness, there's one scene where she's dancing to the Carmen opera from an old fashioned record player with horn that is fun to watch. Still, the ensemble’s talents can’t completely elevate a narrative that loses momentum when it should be tightening the screws. "Eden" asks provocative questions about ambition, community, and the lengths people will go to protect their vision of paradise. But while the true story is fascinating, Howard’s film lands somewhere in the middle ground, neither a gripping survival thriller nor a fully realized character study. With this cast and subject matter, it should have soared; instead, it simply treads water.

Ron Howard’s strength in pacing is undeniable, but with Eden—a true story that inherently lacks dramatic tension—his attempt to highlight human struggles while staying faithful to the facts feels inevitably constrained.

The most unusual thing about this film is that it’s true. During the early 30s, three groups of people moved to a remote island in the Galapagos. The initial couple was a philosopher/writer and his companion (Jude Law & Vanessa Kirby). They’re followed by a husband/wife (Daniel Brühl & Sydney Sweeney) and their son with tuberculous (Jonathan ****). Finally, making a grand entrance with a small entourage is the “Baroness” (Ana de Armas) with an upper-crust attitude and unrealistic expectations. The need for food and other basics creates constant tension among them. Director Ron Howard has imbued every scene with a continual aura of suspicion and betrayal. It’s boosted by the all-around exceptional performances, especially de Armas, who’s charismatically and compellingly seductive and Sweeney, in an almost unrecognizable dramatic turn. This film takes it’s time to develop, sometimes even frustratingly. By the ending, it does accumulate tension, creating a dark, intriguing story that’s even more compelling because it’s true.

Eden is a movie about characters. Virtually all of them are not innocent nor good. They do whatever it takes in orderto survive, often manipulate, steal or even kill. They feel strandedand lost in this remote island where they begin to doubt themselves. For example, even the arrogant and selfish Baroness starts to question herself and her abilities after being rejected. Sure, its script is unfocused and sometimes gets lost , but again it's a movie all about the characters that are based on real people. And it succeeds in that regard.