---
title: "Eddington"
year: 2025
kind: "film"
canonical: "https://film.one/film/eddington"
fi1m_id: "eddington"
imdb_id: "tt31176520"
tmdb_id: 648878
wikidata_id: "Q121433282"
fi1m_score: 64
critics_score: 71
critics_reviews: 16
published: "2026-09-09"
updated: "2026-09-18T08:37:49.648981+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Eddington (2025)

Directed by Ari Aster · 2h 28m · MPA R · Western, Comedy, Crime

## Identity

Eddington

- **Canonical:** https://film.one/film/eddington
- **Type:** Film
- **Fi1m ID:** eddington
- **IMDb ID:** tt31176520
- **TMDB ID:** 648878
- **Wikidata ID:** Q121433282
- **Same entity:** https://www.imdb.com/title/tt31176520/, https://www.themoviedb.org/movie/648878, https://www.wikidata.org/wiki/Q121433282

**Fi1m score: 64** · Critics 71 from 16 reviews

*In a sentence:* A sheriff with asthma, a grudge and a smartphone, in a town where everyone is filming everyone else

> Ari Aster’s small-town western sets a sheriff against a mayor in the summer of 2020 and is sharply funny about phones, masks and men who are certain they are right. Then it starts shooting.

## Synopsis

Eddington, New Mexico, in the summer of 2020. Joe Cross (Joaquin Phoenix), the town sheriff, has asthma and will not wear a mask, and after an argument about it in a shop he decides to run for mayor against the incumbent, Ted Garcia (Pedro Pascal). At home his wife Louise (Emma Stone) keeps to her room while her mother Dawn (Deirdre O’Connell) watches conspiracy videos all day. Joe’s deputies Michael (Micheal Ward) and Guy (Luke Grimes) try to keep up with him. Teenagers, among them Brian (Cameron Mann) and Ted’s son Eric (Matt Gomez Hidaka), take to the streets with placards. On the edge of town a data centre is going up, and online a guru called Vernon Jefferson Peak (Austin Butler) is gathering followers. Everyone is filming everyone.

## Review

Ari Aster has made a western about the summer of 2020, and for an hour it is the film about that year we did not know we wanted. Joe Cross (Joaquin Phoenix) is the sheriff of a small New Mexico town with no cases of the virus, and he will not wear a mask because he has asthma and because he has been told to. An argument about it in a shop, filmed by the other customers, sends him home angry, and by morning he has decided to run for mayor against Ted Garcia (Pedro Pascal). *Eddington* is sharp and funny about all of this, and then, somewhere past its midpoint, it stops being about it.

Phoenix is the reason to go. He plays Joe as a man whose body is against him, wheezing through the mask when he does wear it, hat too big, voice pitched half a step higher than he would like, and he campaigns from his pickup with a slogan hand-painted on the side and a loudhailer he cannot quite work. Aster writes him as neither hero nor fool, and Phoenix keeps him there. Pascal’s Ted is the smoother article, a mayor who says the correct thing in the correct order and believes about half of it, and the two of them circling each other outside the town hall is the best the film gets.

The household is where Aster is quietest and best. Emma Stone’s Louise barely leaves her room; she speaks softly and rarely and Stone lets us guess at the history. Deirdre O’Connell’s Dawn, her mother, sits at a laptop all day and reads out what it tells her, and O’Connell plays her without a flicker of irony, which is why it lands. Austin Butler’s Vernon Jefferson Peak arrives on a screen first, a guru with a following and a steady gaze, and Butler is good enough that we wanted more of him.

Darius Khondji shoots the town in flat, white desert light with the street empty and the shadows short, and he keeps returning to phone screens, held in the frame so that we watch events through the footage the characters take of them. Elliott Hostetter’s Eddington is a real-feeling place, a sheriff’s office with bad carpet, a diner, a shuttered bar, and on the edge of it the scaffolding of a data centre nobody asked for. Anna Terrazas dresses the masks as costume: who wears one, who has it under the chin, who has one hanging from a wing mirror. Daniel Pemberton and Bobby Krlic supply a low hum for the first half that turns into something twangier and more western later, which tells you where the film is going before the film does.

We laughed hard at the shop scene, at Joe being told he could order online by a boy young enough to be his son, and then felt uneasy about it, because Aster had shot it so that the laugh was on everyone in the shop, including us. The trouble is the middle stretch. Lucian Johnston’s cut is patient in the first hour and then long; the teenagers’ protests, the deputies, Dawn’s videos, the data centre, the guru, all get their scenes and none of them gets a shape. Cameron Mann’s Brian and Matt Gomez Hidaka’s Eric are written to be laughed at, and the film’s evenhandedness starts to look like a man saying everyone is stupid.

The second half takes a turn we will not describe. It is staged with real skill, and Khondji finds night-time images of the town that are the most striking in the film. But by the last half hour we had stopped following, and Aster had stopped asking us to.

*Hereditary* (2018) and *Midsommar* (2019) each had one family and one horror and followed both to the end. This is the first time Aster has taken on a whole town, and the widening costs him. See it for Phoenix, for the first hour and for the household scenes, and take someone who will argue about the rest. It carries a 15 and runs 148 minutes; you will feel the second number.

*Fi1m score 64, published 9 September 2026.*

## What the critics say

Most critics agree Ari Aster has made a film about the spring of 2020 and its arguments, and the reviews split sharply on whether that is worth doing. The warmer notices call it an audacious, farcically funny black comedy, a state-of-the-nation piece that skewers conspiracy theorists and self-righteous liberals alike, and the praise settles on Joaquin Phoenix’s unhinged sheriff and on Darius Khondji’s cinematography.

Even admirers concede the length, a crowded last act and a habit of overstuffing. The dissent is loud rather than marginal. The Guardian finds it bafflingly dull and self-important; The Observer calls it trolling without wit; Sight and Sound thinks it a bloated mess that wastes Pascal and Stone in thin roles. Time Out and The Telegraph land in between, enjoying the set pieces while doubting the satire says anything new. The spread is wide, and the festival reviews are noticeably cooler than those written around the release.

## Straight answers

**Is Eddington worth watching?**

*Eddington* is worth watching for its first hour and for Joaquin Phoenix, and we scored it 64. Ari Aster's western about the summer of 2020 is sharp and funny about masks, phones and men who are certain they are right, then loses its shape in a long middle stretch and a second half we stopped following. See it for Phoenix and the household scenes, and know that 148 minutes will feel like 148 minutes.

**How long is Eddington, and what is it rated?**

*Eddington* runs 2h 28m and is rated R by the MPA in the US. It is a western and comedy film.

**Where can I watch Eddington in the US?**

*Eddington* is streaming on HBO Max, Hulu, The Roku Channel and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Eddington, and is it suitable for children?**

*Eddington* carries a UK 15 and a US R, and it is not for children. The first hour is a comedy about a small-town election, but the second half takes a violent turn we will not describe, and the standfirst's warning that it starts shooting is meant literally. Teenagers of 15 and over should manage it; the squeamish should know the last half hour is the roughest.

**How does Eddington compare to Fargo?**

*Eddington* and [*Fargo*](https://film.one/film/fargo) are both small-town crime films about law officers and schemes that get away from everyone, and *Fargo* is much the tighter of the two. The Coens follow one family and one crime to the end with an affection for sensible people; Aster takes on a whole town and the widening costs him. Viewers who want the jokes to keep their shape should start with *Fargo*.

**What should I watch after Eddington?**

After *Eddington*, try [*Fargo*](https://film.one/film/fargo) (1996, Fi1m 91): Small-town law, a scheme that gets away from everyone, and jokes with bodies in them. Then [*Bad Day at Black Rock*](https://film.one/film/bad-day-at-black-rock) (1955, Fi1m 86): One street, one secret, a town that closes ranks; the western as pressure cooker; and [*Election*](https://film.one/film/election) (1999, Fi1m 86): A local vote turns everyone monstrous, and the film is fair to all of them.

### Reviews we read (25)

- **Empire**, John Nugent (85/100, inferred): Aster fearlessly satirises the pandemic era and its divisions in a heightened comedic western that descends into farce while maintaining insight and confidence. The critic calls it an audacious, farcically funny digest of the times, though the ending may divide viewers. [Read](https://www.empireonline.com/movies/reviews/eddington/)
- **The Independent** (85/100, inferred): Aster widens his scope from single protagonists to an ensemble in a small New Mexico town during 2020, creating a blood-soaked state-of-the-nation black comedy that skewers Covid-era divisions, cults and identity politics. The critic praises the visual comedy, ensemble performances and the film's sweep as a microcosm of America. [Read](https://independent.co.uk/arts-entertainment/films/reviews/eddington-review-joaquin-phoenix-b2811832.html)
- **Little White Lies**, David Jenkins (2/4/4): The critic views it as a deeply cynical film for cynical times that plunges the knife into an eternally fucked-up society, praising its authentic depiction of social media brain-rot and gorgeous shooting by Darius Khondji. They note it is not fully convincing overall despite strong elements like Phoenix's committed performance. [Read](https://lwlies.com/festivals/eddington-2)
- **Radio Times**, James Mottram (4/5): The critic calls it thematically rich but overlong, praising its overflowing ideas and Phoenix's splendid performance as the unhinged sheriff while noting the two-and-a-half-hour runtime and editing issues prevent it from being a killer piece. They single out the parable-like quality and online lies theme for praise. [Read](https://www.radiotimes.com/movies/eddington-review/)
- **The i Paper**, Christina Newland (80/100, inferred): Aster delivers an unsparingly funny dark comedy that skewers right-wing conspiracy theorists and self-righteous white liberals alike while capturing the madness of 2020 America. The critic highlights the well-observed details and social media chaos but notes it can feel overstuffed. [Read](https://inews.co.uk/culture/film/eddington-review-worst-modern-america-hilarious-3866540)
- **Financial Times**, Danny Leigh (70/100, inferred): The pointedly deranged black comedy about Covid and culture wars is more insightful than expected, with a misanthropic smirk that feels sadder this time. It evokes the feelbad energy of prior Aster films while reminding of classic American desert-town stories. [Read](https://www.ft.com/content/5c700195-deb0-4c3a-bff8-6d069b73c83a)
- **The AV Club**, Farah Cheded (B-): The critic sees it as an ambitious but only partly coherent mishmash of tones, hampered by too many plates spinning and a confusing last act, though it has insightful moments about division and polarization. [Read](https://www.avclub.com/eddington-review)
- **The Telegraph**, Tim Robey (3/5): Aster’s first film that does not quite combust is a clever but underwhelming social satire of 2020 America that mines conspiracies and tension without breaking new ground. The long fuse leads to a perfunctory detonation. [Read](https://www.telegraph.co.uk/films/2025/08/21/eddington-review-joaquin-phoenix-pedro-pascal/)
- **Time Out**, Dave Calhoun (50/100, inferred): The critic finds tone the big problem in this western-flavoured satire of 2020 culture wars, calling attempts to say something important silly while noting it works better with OTT violence and set pieces. They single out the fitfully amusing satire and moments of absurdity but criticize its handling of real events. [Read](https://www.timeout.com/movies/eddington-review-2025)
- **Evening Standard**, Jo-Ann Titmarsh (30/100, inferred): Aster’s Cannes premiere is a meandering, self-indulgent hodge-podge that piles on too many disasters and themes without a measured approach, despite glimmers of brilliance and strong turns from Phoenix and Pascal. The critic finds it frustrating and not a return to the director’s earlier form. [Read](https://www.standard.co.uk/culture/film/cannes-review-eddington-film-b1228250.html)
- **Screen Daily**: The critic describes it as a wan, hyperbolic narrative that falls short in skewering right-wing American ideology, offering little insight into the problems it identifies. They single out the strained satire and the main character's underwhelming portrayal despite Phoenix's bullheaded integrity. [Read](https://www.screendaily.com/reviews/eddington-review-joaquin-phoenix-and-pedro-pascal-face-off-in-ari-asters-wan-satire/5205133.article)
- **Sight and Sound**: The critic calls the film a bloated, indulgent mess and a misguided pandemic satire that punches in all directions with dated jokes and disingenuous messaging. They single out the camerawork by Darius Khondji for praise while criticizing the waste of talented actors like Pascal and Stone in one-dimensional roles. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/eddington-ari-asters-covid-movie-punches-all-directions-misses)
- **The Guardian**, Peter Bradshaw: The film is a bafflingly dull and self-important satire that fails to offer anything new on its themes of Covid, conspiracy theories and social division. It wastes a strong cast through a moderate script and stolid pace. [Read](https://www.theguardian.com/film/2025/may/16/eddington-review-ari-asters-tedious-covid-western-masks-drama-and-mutes-his-stars)
- **The Hollywood Reporter**, David Rooney: The critic finds the film a distancing slog that confuses absurdism with incoherence, neither suspenseful nor funny enough, with too many ideas that fizzle out. Praises the cast's efforts but notes no standout performances and undistinguished visuals. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/eddington-review-joaquin-phoenix-pedro-pascal-ari-aster-1236219580/)
- **The New York Times**, Alissa Wilkinson (Critic's Pick): The critic praises Ari Aster's dystopian western farce for capturing the absurd madness of the 2020 pandemic era with sharp satire and humor. She singles out the film's keen eye for the absurdities of human nature and its effective use of visual and thematic elements to convey isolation and misinformation. [Read](https://www.nytimes.com/2025/07/17/movies/eddington-review-ari-aster.html)
- **The Observer**, Wendy Ide: The film is a sour-spirited and self-indulgent parody that amounts to little more than trolling without wit or insight. It presents a calculatedly unlovable, obnoxious distortion of Covid-era America. [Read](https://observer.co.uk/culture/film/article/eddington-is-a-sour-spirited-and-self-indulgent-parody)
- **Vulture**: The critic finds it bracingly nasty and centerless, unsure of what it's trying to say, but appreciates the depiction of fractured reality and Joe’s downward spiral; didn't love or even like it much. [Read](https://www.vulture.com/article/review-ari-asters-eddington-isnt-sure-what-to-say.html)
- **Collider**, Emma Kiely (8/10): The critic praises Ari Aster's direction for capturing the madness of the pandemic era without his usual stylistic horror flourishes and Joaquin Phoenix's standout performance as the sheriff embodying societal ills. They single out the film's unflinching portrayal of human greed, power struggles, and ridiculousness amid crisis. [Read](https://collider.com/eddington-review/)
- **/Film**, Bill Bria (8/10): The critic finds it a perverse delight that holds a mirror to American insanity through a twisted Western satire set in 2020, praising Joaquin Phoenix and Ari Aster's collaboration for its restraint and ambiguity. [Read](https://www.slashfilm.com/1900708/eddington-review-ari-aster/)
- **NME**, Nick Levine (4/5): Aster delivers an ambitious, tonally slippery black comedy that starts as an election satire before morphing into a hyper-violent neo-Western thriller. [Read](https://www.nme.com/reviews/film-reviews/eddington-review-ari-aster-joaquin-phoenix-pedro-pascal-3884889)
- **The Ringer**, Adam Nayman (80/100, inferred): The critic sees it as Aster's most direct social commentary, immersing viewers in the chaos of the COVID era and modern existence through Phoenix and Pascal's performances and formal control. They single out the personal observations on populism, cultural divides, and the stress-dream quality of the storytelling. [Read](https://www.theringer.com/2025/07/17/movies/eddington-movie-review-ari-aster-joaquin-phoenix)
- **Consequence** (B): The review finds the film an ugly but intentional depiction of an ugly time, praising Phoenix's fearless lack of vanity in the lead role and Aster's cinematic mastery. They single out the drag in the early sections and question the purpose of revisiting the era without a clearer reason. [Read](https://consequence.net/2025/07/eddington-review-joaquin-phoenix-ari-aster/)
- **Den of Geek**, Joe George (2.5/5): Aster's COVID-era political satire is a fascinating but ultimately unpleasant and disappointing film that struggles to contain its ambitions about American societal collapse. [Read](https://www.denofgeek.com/movies/eddington-review-ari-aster-american-collapse/)
- **Deadline**, Damon Wise: The critic calls Eddington an extraordinary satirical neo-Western that takes a big swing at modern American politics and MAGA culture with biting dark humor. It singles out the film's explosive approach to politics and its depiction of Covid-era chaos as the Big Bang for current divisions. [Read](https://deadline.com/2025/05/eddington-review-ari-asters-explosive-satirical-neo-western-takes-a-big-swing-at-maga-culture-cannes-film-festival-1236401277/)
- **The Wrap**: The critic finds the film ultimately satisfying as it shifts from genteel satire to fully embodying manic energy, praising Aster's knack for confrontation. It singles out the mid-film pivot that allows the story to enact American carnage rather than just winking at it. [Read](https://www.thewrap.com/eddington-review-cannes-2025-ari-aster-joaquin-phoneix-emma-stone-pedro-pascal/)

## Details

- **Director:** Ari Aster
- **Director:** Ari Aster
- **Writer:** Ari Aster
- **Cinematography:** Darius Khondji
- **Editor:** Lucian Johnston
- **Music:** Daniel Pemberton, The Haxan Cloak
- **Production design:** Elliott Hostetter
- **Costume design:** Anna Terrazas
- **Producer:** Lars Knudsen, Ari Aster, Ann Ruark
- **Cast:** Joaquin Phoenix as Joe Cross; Deirdre O'Connell as Dawn Bodkin; Emma Stone as Louise Cross; Micheal Ward as Michael Cooke; Pedro Pascal as Ted Garcia; Cameron Mann as Brian Frazee; Matt Gomez Hidaka as Eric Garcia; Luke Grimes as Guy Tooley
- **Runtime:** 2h 28m
- **Certificate (MPA):** R
- **Release (the US):** 18 July 2025
- **Genres:** Western, Comedy, Crime
- **Budget:** $25 million
- **Box office:** $14 million
- **Trailer:** https://www.youtube.com/watch?v=q-yUOB-ZFXc

## Where to watch in the US

- HBO Max: streaming, uhd
- Hulu: add-on, hd
- The Roku Channel: add-on, hd
- Amazon Prime Video: add-on, uhd
- Amazon Prime Video: rent $4.99, uhd
- Amazon Prime Video: buy $19.99, uhd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HK, HR, HU, ID, IE, IT, JP, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Fargo* (1996), Fi1m 91: Small-town law, a scheme that gets away from everyone, and jokes with bodies in them. — [Fi1m page](https://film.one/film/fargo.md)
- *Bad Day at Black Rock* (1955), Fi1m 86: One street, one secret, a town that closes ranks; the western as pressure cooker. — [Fi1m page](https://film.one/film/bad-day-at-black-rock.md)
- *Bacurau* (2019): A Brazilian village vanishes from the map and fights back; angrier and tighter than Aster.
- *Election* (1999), Fi1m 86: A local vote turns everyone monstrous, and the film is fair to all of them. — [Fi1m page](https://film.one/film/election.md)
- *Hell or High Water* (2016), Fi1m 84: Dusty, broke America seen through a lawman and the men he is chasing. — [Fi1m page](https://film.one/film/hell-or-high-water.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/eddington