‘Eddington’ Is the Political Western You Didn’t Know You Needed - Review
Image courtesy of A24 (2025)
Ari Aster is one of those filmmakers I never expected to step outside the realm of traumatic horror — but I’m glad he did. Each of his films feels like a departure from the last, and as a writer/director myself, I deeply respect that. It’s always refreshing when a filmmaker isn’t afraid to challenge expectations and offer something new. With Eddington, Aster does exactly that. Let’s dive in.
The plot is simple in this one, during the COVID-19 pandemic, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbour is pitted against neighbour in Eddington, New Mexico.
To begin, Aster’s script is incredibly engaging—arguably the most compelling one he’s written so far. Going into Eddington, I expected the kind of slow-burn storytelling he’s known for—the kind that demands patience, rewards it with haunting final imagery, and lingers in your mind for days. But here, while that signature tension is still present, the pacing feels tighter, the dialogue sharper, and the overall flow more immediate and alive. Maybe that’s a product of experience. This being his fourth feature, I wouldn’t be surprised if his next film is even more out of this world.
Like the script, this might be Aster’s finest work as a director. I knew he was a masterful filmmaker the moment I saw Hereditary back in 2018. One of the first shots—an elegant dolly into a miniature model house that seamlessly transitions into the film’s opening scene—was enough to let me know I was watching someone who respects the craft. That level of attention to detail is present again in Eddington, but it’s evolved. The camera choices feel more confident, the visual storytelling more layered, and the overall tone more assured. I loved every shot that was presented in this film, especially in the film's finale. Tons of one-take sequences that follow characters and keep us with them in integral moments. I loved it.
What makes this film particularly unique is its approach to character development, or lack thereof. We don’t really learn much about the characters on a personal level. Instead, we come to understand them primarily through their political beliefs. Surprisingly, this doesn’t feel like a flaw. Since this is a political western, knowing where each character stands ideologically is enough to follow and invest in them. I think Aster makes this choice work effectively. The performances also carry a lot of weight. Joaquin Phoenix and Pedro Pascal are standouts, especially Joaquin as Joe Cross. At first, Joe seems like an ordinary guy who just vents about COVID and government mandates, much like many people did during the pandemic. In contrast, Pedro’s character, Ted Garcia, is more respectful of the rules. From there, the plot unfolds, and I have to say, I didn’t expect a Breaking Bad-style descent—but in many ways, that’s exactly what we get. And that’s a big reason why I ended up loving this film as much as I did.
In the end, Eddington worked for me on a variety of levels. Its bold political commentary, unconventional character development, and gripping narrative arc came together to create something both thought-provoking and emotionally resonant. While it may not be a traditional Western, its willingness to subvert expectations is exactly what makes it stand out. With standout performances from Joaquin Phoenix and Pedro Pascal, and a storyline that took unexpected but compelling turns, the film left a lasting impression. It challenged me, surprised me, and ultimately delivered a cinematic experience I won’t soon forget.
RATING:
4 out of 5
