Eddington review: Ari Aster’s latest is thematically rich but overlong

Without needing to jog your memory too much about an event only five years past, deeply etched in your mind, Aster invites us to reexperience this harrowing spectacle. Though Eddington is distant from the coronavirus hotspot, nobody is untouched. However, Sheriff Joe Cross, a man with asthma, stubbornly refuses to don a mask, even inside shops, leading him into confrontation with Ted Garcia, a well-liked mayor of Phoenix.

Beyond what meets the eye, there seems to be additional complexity in the mix, considering Garcia’s rumored past with Louise Cross, who appears to embody Sissy Spacek’s spirit (played by Emma Stone). Moreover, Louise has been swayed by Vernon Jefferson Peak, a charismatic figure with tattoos who promotes the idea that “evil is sentimental”. However, Cross faces pressing issues as he finds himself at odds with Garcia. Matters become even more volatile when Cross decides to contest for the mayoral position, potentially stirring up more trouble.

Standing as a movie enthusiast, I find myself witnessing the stirring Black Lives Matter protests unfold in response to the tragic, real-life killing of George Floyd in Minneapolis. My characters, Cross, Guy (played by Luke Grimes), and Michael (Micheal Ward), are thrust into escalating tensions as protestors take to the streets of Eddington, voicing their anger against police brutality. Aster’s unique storytelling technique humorously exposes the contradictions within certain segments of white society, who claim to advocate for racial equality.

At Garcia’s house party, Cross shows up to lower the volume on the music. However, instead of complying, the mayor unexpectedly slaps him twice, causing his glasses to slide down. The ensuing events are best kept secret to maintain suspense, but Phoenix’s character is prominently displayed as he grows more and more unstable in response to this humiliation. Whether you find it believable or not, Phoenix delivers a remarkable performance, especially when the narrative veers off course. And let me tell you, the mustache he sports only adds to his charm.

In a world filled with deceitful prophets, data mining, and manipulated truths, Eddington portrays a reality where falsehoods propagate instantaneously, and people live their lives virtually. Aster seems to be expressing his disdain for the horrors of technology, as Cross questions at one point, “How did we end up here?” He appears to represent our Everyman character, much like Peter Finch in Network, who is both enraged by the situation and has reached his breaking point.

Eddington might be considered a modern-day parable, although in earlier times, its western-influenced tale of retribution would likely have been featured in a B movie from Hollywood. However, be aware that at over two and a half hours long, Eddington moves slowly before any action occurs. It’s a film rich with ideas, which is commendable, but it sometimes feels like a boiling, toxic cauldron. Unfortunately, the pacing could have been tighter, as this movie had the potential to be truly exceptional.