Eddington review - Ari Aster’s tedious Covid western masks drama and mutes his stars

TruthLens AI Suggested Headline:

"Ari Aster's 'Eddington' Fails to Deliver Engaging Satire Amid Pandemic Themes"

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AI Analysis Average Score: 5.2
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Ari Aster's latest film, "Eddington," presents a convoluted satire that attempts to tackle a variety of contemporary themes such as the Covid-19 lockdown, social polarization, and the dynamics of privilege and race. Set in the fictional town of Eddington, New Mexico, the narrative follows Mayor Ted Garcia, played by Pedro Pascal, and Sheriff Joe Cross, portrayed by Joaquin Phoenix, as they clash over pandemic policies and local governance. The film's exploration of these tensions is muddied by a lack of originality and dramatic engagement, leaving the audience with a sense of fatigue rather than insight. Despite the film's polished cinematography by Darius Khondji, the script fails to elevate the performances of its talented cast, rendering Emma Stone, Pascal, and Phoenix less compelling than expected. The characters are burdened by a sluggish pacing that detracts from the humor and urgency that a political satire might typically convey.

As the plot unfolds, the personal histories and conflicts among the characters become entangled in the broader societal issues, such as the repercussions of the George Floyd protests and the rise of conspiracy theories during the pandemic. Emma Stone's character, Louise, grapples with her mental health while navigating her past with Mayor Garcia, who is also dealing with his own family dynamics, including his guilt-ridden son and his interactions with various community members. The film attempts to inject humor and satire through caricatured portrayals of social justice warriors and conspiracy theorists but ultimately struggles to deliver impactful commentary. Aster's portrayal of the political landscape feels derivative, lacking the dramatic tension necessary to engage the viewer fully. While there are moments of clever satire, particularly in the depiction of local law enforcement attitudes, the film's overall message appears stale and uninspired. As "Eddington" premiered at the Cannes Film Festival, anticipation for its global release remains tempered by the critical reception, leaving fans to wonder if Aster can regain his cinematic prowess in future projects.

TruthLens AI Analysis

The review of Ari Aster's film presents a critical perspective that raises several key points about the movie's execution and its thematic relevance. The article emphasizes the film's failure to engage audiences with its narrative, despite a visually appealing production quality. The critique offers insight into the possible motivations behind the film's creation and the broader societal implications it may reflect.

Analysis of Purpose and Audience Perception

The article aims to highlight the shortcomings of Aster's film, suggesting that its themes around contemporary issues such as Covid-19, social justice, and conspiracy theories are poorly executed. It seeks to inform readers, potentially sparking debate about the film's relevance and artistic merit. By emphasizing the film's dullness and self-importance, the review may influence public perception, steering audiences away from viewing it favorably.

Concealed Information

There could be an underlying intent to critique not just the film but the larger cultural and societal narratives that it attempts to engage with. By portraying the film as tedious, the article suggests a critique of current filmmaking trends that prioritize style over substance. This may point to a broader criticism of how art reflects societal issues.

Manipulative Aspects

The review employs a negative tone, which could be perceived as manipulative, particularly if the aim is to sway public opinion against the film. The language used, such as "tedious," "dull," and "self-important," frames the narrative in a way that could alienate potential viewers. This suggests a deliberate choice to emphasize dissatisfaction rather than providing a balanced view.

Truthfulness of the Content

While the review accurately describes the film's reception, the subjective nature of film criticism means that the truth of its content relies on the critic's perspective. Different viewers may have varying interpretations of the film’s effectiveness and thematic depth. Therefore, the article's reliability is contingent upon the reader's alignment with the critic's viewpoint.

Societal Narratives Conveyed

The review promotes the idea that contemporary films should rise above superficial commentary on significant issues. By critiquing the film’s handling of topics like social polarization and conspiracy theories, it suggests that audiences are seeking more profound and engaging storytelling.

Connections to Other News

The article aligns with a broader trend in film criticism that challenges filmmakers to address societal issues with nuance and creativity. It reflects ongoing discussions in the media about the cultural relevance of art in a rapidly changing world, particularly during and after the Covid pandemic.

Impact on Society and Economy

The negative reception of the film could influence audience turnout and, consequently, box office performance. A poor reception could deter investors and studios from backing similar projects in the future, impacting the film industry’s financial landscape.

Targeted Communities

The review may resonate more with audiences who prioritize substantive filmmaking over flashy production values. It caters to viewers who are critical of how social issues are tackled in mainstream cinema, potentially appealing to more discerning film enthusiasts.

Market Influence

In terms of market impact, the film's performance could influence stock prices of companies involved in its production and distribution. If the film underperforms, it may signal a lack of interest in similar content, affecting future investment decisions in the entertainment sector.

Global Power Dynamics

While the review itself does not directly address global power dynamics, the themes explored in the film reflect ongoing societal tensions that have international implications. The handling of social issues like Black Lives Matter suggests engagement with a global discourse around race and privilege.

Use of AI in Writing

There is no direct indication that AI was used in the writing of this review. However, if AI were to assist in generating such content, it might influence the tone or style, potentially leading to a more formulaic approach in expressing opinions. The article’s subjective nature implies a human touch, particularly in its critique and emotional resonance.

The review serves as a lens through which to examine not only the film itself but also the cultural context in which it exists, highlighting the critical expectations of contemporary cinema. Overall, while the review may present a negative view on Aster's latest work, it opens up discussions about the film industry’s responsibility in addressing pressing societal issues through art.

Unanalyzed Article Content

Ari Aster now worryingly creates a losing streak with this bafflingly dull movie, a laborious and weirdly self-important satire which makes a heavy, flavourless meal of some uninteresting and unoriginal thoughts – on the Covid lockdown, online conspiracy theories, social polarisation, Black Lives Matter, liberal-white privilege and guns.The movie looks good, courtesy of Darius Khondji’s cinematography, but has nothing new or dramatically vital to say, and moreover manages the extraordinary achievement of making Emma Stone, Pedro Pascal andJoaquin Phoenixlook like boring actors. This is by virtue of its moderate script and by the unvarying stolid pace over its hefty running time which might have suited a 12-episode streamer.Eddington is a fictional small town in New Mexico in the US, bordering Native American territory; we join the story as the Covid lockdown begins (though Trump is oddly unmentioned in all the news programmes and viral TikToks everyone’s watching) and Mayor Ted Garcia (Pedro Pascal) and Sheriff Joe Cross (Joaquin Phoenix) are at loggerheads – interestingly taking opposite sides to their counterparts in Spielberg’s Jaws on the personal liberty issue.Here, the mayor insists on restrictive mask-wearing and Sheriff Cross refuses to wear his and is resentful of the mayor supporting construction plans for a giant new “online server farm” – gobbling up resources and symbolically sowing discord via the internet – and this complicates existing tensions.

The mayor once had emotional history with Cross’s wife Louise (Emma Stone) who now suffers from hysteria and depression and whose mother Dawn (Deirdre O’Connell), now uncomfortably “bubbled up” with them in the family home, is a querulous conspiracy theorist and social media addict – although the problem of how to make these particular things funny or interesting is one the film never solves.Garcia’s insufferable teen son Eric (Matt Gomez Hidaka) is dating social justice warrior Sarah (Amélie Hoeferle) who is cartoonishly convulsed with guilt at her white privilege and at having dumped Michael (Micheal Ward) because he is now a cop, working for Sheriff Cross, and a gun enthusiast – though he is a person of colour.The atmosphere of feverish resentment and wholesale offence-taking worsens with the George Floyd outrage and Louise and her mom take an interest in charismatic cult leader Vernon Jefferson Peak (Austin Butler) who has recovered memories of child abuse and encourages his followers to do the same.So Sheriff Cross fights back against everything by running for mayor himself and winds up encouraging the townsfolk to get their guns ready for the coming showdown.

This idea of a mano a mano political contest between these two grizzled alpha males promises some comedy – and the film does deliver one actual laugh with Mayor Garcia’s outrageously sugary TV ad, recounting his tough emotional courage raising his boy as a single dad.And there is some divertingly acid, nasty satire on the odious attitudes on show in the sheriff’s department. One cop says sagely that blacks hate Hispanics because they are “fake minorities who are taking their coupons”. And when Native American cop Butterfly Jimenez (William Belleau) intervenes in an investigation, a white cop sneeringly asks if he shouldn’t be looking into an “alcoholic domestic dispute at one of your casinos”.But it all feels secondhand – and a scene showing a fractious town meeting on zoom is weirdly like the legendary online council meeting inHandforth, Cheshire. There is no accumulation of drama or tension or intellectual revelation and the setpiece shootout is ultimately valueless. What exactly is it saying that we didn’t know already? The wait for Aster to recover his directorial form goes on.

Eddington premiered at theCannes film festival. Global release dates are to be confirmed

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Source: The Guardian