'Eddington' Review: We're All Under the Microscope of Ari Aster's Hilariously Deranged COVID Western

I think it's safe to say that none of us have ever really recovered from the effects of 2020 and the new world that emerged from it. Interrogating everything that's happened over the past five years may not sound like the most ideal night at the movies, but it's very much a cinematic conversation worth having. The coronavirus isn't something we can simply ignore, as it's forever ingrained into the fabric of human history. It may not be until down the line where the cultural extent of this devastating pandemic can be assessed, but in the meantime, Ari Aster takes a wild crack at it with his latest film "Eddington." The man behind "Hereditary," "Midsommar" and the ruthlessly funny "Beau is Afraid," Aster is a filmmaker who revels in the feel-bad nature of human existence. Whether a twisted subversion of the possession thriller or a riff on European folk horror, his work pushes the boundaries of what contemporary audiences are comfortable with. He's a provocateur and a great one at that. "Eddington" is perhaps the biggest deviation from Aster's other films, as it tackles the heat of the COVID-19 frenzy through the guise of a delirious neo-western that gets progressively more deranged. It will not be for everybody, as it's a cinematic powder keg built to rub some folks the wrong way. Akin to most of Aster's filmography, however, there's a whole lot to unpack once the shockwaves have dissipated. It's May 2020 and the town of Eddington, N.M. is under lockdown with a mask mandate in effect. The only issue is that Sheriff Joe Cross (Joaquin Phoenix) doesn't want to wear his and throws a not-so-subtle fit whenever he's asked to. He carries himself with the distinction of the kind of righteous lawmen you'd see in movies but wants to maintain the illusion of control over his constituents. It also doesn't help that Mayor Ted Garcia (Pedro Pascal) is an infinitely more popular presence, whose charm makes him more approachable to the Eddington community. After Joe goes to bat for a maskless man, he follows his seemingly heroic act with an impromptu bid for Mayor. Keeping with the theme of posting before you think, Joe's video gains a lot of traction, entrenching him in a nightmare of his own making. Having seen "Eddington" twice, I can confirm that Aster's work always reveals itself on multiple viewings. The film is modeled after other signature westerns like "Unforgiven" and especially "No Country For Old Men," both of which take a revisionist approach to the nature of violence under the law. I remember writing "ohh here we go" in my notepad on that first viewing, as Aster appeared brave enough to tackle topics such as the Black Lives Matter protests in the midst of everything else. He makes a lot of predictable jabs at performative activism that come across as obvious until it sinks in that this is the entire point of what he's trying to get at. A near-barren New Mexico town is turned into a spectacle, and Joe is simply out of his element when faced with real issues. Phoenix plays a character that is similarly pathetic. It's a captivating performance of a desperate man who believes he has more to offer his town than he does, which often leads to impulsive decisions that only benefit himself more. Pascal, on the other hand, is great at playing a local community pillar who has charisma for days yet is still susceptible to getting high on his own supply. "Eddington" soars whenever these two are at odds, with one of the most notable scenes involving a hilariously shocking confrontation at a party where actions speak louder than words. It's the key to both Phoenix and Pascal's performances. I've seen some reviews lamenting the lack of Emma Stone's screen time, but without saying much, the character of Louise leaves a huge impression on Joe's story. Michael Ward is the secret MVP as one of Joe's loyal deputies whose story gets taken to some distressing places in the back half and ultimately experiences the town's rotten core firsthand. "Eddington" is the equivalent of doomscrolling every wave of social media discourse through the eyes of a crumbling communal ecosystem. The pandemic broke so many people's brains to the extent that just about any online interaction made them feel important. A music stinger accompanies a teenage boy liking a BLM post, as if he actually made waves with the cause. Even Joe's descent is the result of that dopamine hit from his phone. After being tagged in a Facebook post, the Sheriff becomes infatuated with the notoriety of being wanted and useful, if not for himself, then to spite the current leadership. Almost all of Joe's decisions are formed because of social media and "Eddington" hilariously explores the conspiracy theory psychosis within most people's relationships on the internet in a time of crisis. There's a hilarious moment where the local kids gather at a field to hang out and one googles Angela Davis just to impress a girl. And the construction of an AI data center called SolidGoldMagiKarp acts as an invisible throughline that's rarely talked about but always present right up until the film's haunting final shot. "Eddington" is a whole lot of movie to take in, especially on a first viewing, but if you're willing to view the madness of 2020 through a filmmaker who was clearly perturbed by everyone's social media presence, this is well worth seeking out. The best part about seeing this with a crowd is the gaggle of uncomfortable laughter that accumulates to the point that a really unexpected punchline causes them to roar. "Eddington" is now playing in theaters nationwide.