2020 was a crazy year that brought out the worst in a lot of people, and showcased some troubling issues we’re still grappling with today. To many, this idea is self-evident, and for that audience, Ari Aster’s “Eddington” won’t offer any insights you didn’t already understand.

Set in the spring of 2020, “Eddington” tries to capture the chaos of the COVID-19 Pandemic within the scope of a small New Mexico town. Aster follows a kaleidoscope of characters and parties, which makes the film feel more like a portrait than a traditional narrative, but its plot mostly focuses on town sheriff Joe Cross (Joaquin Phoenix). Joe has a strained relationship with his wife Louise (Emma Stone), which is exacerbated by the presence of his live-in conspiracy theorist mother-in-law Dawn (Deirdre O’Connell). His relationship with Eddington mayor Ted Garcia (Pedro Pascal) is even more strained, partially because he supports masking policies that Joe sees creating contention among residents, but also because Ted has a past with Louise.

As one thing leads to another, Joe decides to run against Ted to de-seat him. This all happens as COVID policies and Black Lives Matter protests stir up increasing tensions in town. We meet local tribal officers, whose jurisdiction presents an uneasy neighbor to Eddington, and a group of young adults trying to reconcile their passions for social activism with their more down-to-earth romantic relationships. And when Dawn introduces Louise to a very online 21^st century Charles Manson-wannabe (Austin Butler), those escalating tensions start to finally boil over.

“Eddington” tries to cover a little of everything: small town politics, right-wing conspiracists, Gen Z social justice warriors, corporate corruption, even privately funded leftist terrorism. And to Aster’s credit, he points the finger at all these parties with equal condemnation. The whole lot is a mess by intention, mixing social issues with personal biases and ulterior motives, reflecting the confusion of the time as various parties default to more and more hysteric reactions. As a critical portrait of contemporary American culture, it has merit, even if it overlooks the more grounded part of the population who didn’t run headlong down the various paths of extremism. But once atmosphere gives way to action, “Eddington’s” story becomes more and more preposterous, leaving audiences with no option but to see Aster’s film as more of a symbol than a believable narrative.

The trouble is that while it’s busy pointing fingers at everyone involved, it isn’t really saying anything that shouldn’t be readily obvious. It’s hard to think anyone will come out of “Eddington” knowing or understanding anything they didn’t already know or understand going in. It may be a bit of a surprise for Aster fans, given that the director has been primarily known for more traditional horror films like “Hereditary” and “Midsommar.”

On a more technical level, “Eddington” builds a strong atmosphere and some passages of dramatic tension, and its performances are pretty strong overall. But all its good parts add up to a film that may have arrived too soon. Not because it’s insensitive or inappropriate, but more because its subject feels like an open, unresolved wound that needs more time to put in perspective. And without that perspective, the film is unable to move past the self-evident to achieve the poignancy and meaning it seeks.

The explicit references to real-life issues both help and hinder the movie’s impact. On the one hand, they drive home the reality of the situation, and make it relatable. But because it is relatable, it will also be difficult for anyone with highly polarized political perspectives to view the film beyond their own biases. In that sense, “Eddington” feels designed for a centrist audience that finds fault on all sides. Unless Aster is more interested in trolling the true believers, which just feels like a lot of effort for a minimal return.

“Eddington” is rated R for scattered profanity, some graphic violence, and a brief scene of non-sexual graphic nudity.

The post Aster’s ‘Eddington’ feels like it’s stating the obvious appeared first on Utah.Film.

The second half of the year has some exciting films coming to theaters. Whether it be original horror pictures, superhero films, or indie dramas. There is something for all audiences to look forward to through the rest of the year. 

1. Superman 

Superman returns to movie theaters this July in his first film in over a decade. Director James Gunn takes the reins on “Superman,” the first film to come out in his new DCU franchise. Audiences will follow Superman as he encounters various villains and superheroes, all while dealing with his alien heritage. 

The film has a bright and colorful feel that looks like it was ripped straight out of a comic book, countering the previous dark and gritty look of DC’s recent films. “Superman” will likely be the movie of the summer when it comes to family-fun adventures on the big screen.

2. Eddington 

Horror auteur Ari Aster teams up with Joaquin Phoenix once again in July’s “Eddington”. Aster’s latest film is a horror drama centered around the height of the COVID-19 pandemic. While details remain unknown, the film follows a tension-filled stand-off between a small town sheriff played by Phoenix and the town’s mayor, played by Pedro Pascal. 

Aster’s last film, 2023’s “Beau is Afraid,” was a divisive blank-check film that did not do well at the box office. “Eddington” premiered at the Cannes Film Festival earlier this year and seems to be continuing Aster’s trend of making provocative films that divide movie-goers. 

3. Weapons

Zach Cregger, one of the most exciting voices in modern horror filmmaking, returns to cinemas with “Weapons”. In 2022, Cregger’s “Barbarian” shocked horror fans and became an instant cult classic. “Weapons” stars Josh Brolin and Julia Garner and seems to be an even more ambitious and sleek horror film. 

“Weapons” follows the mysterious and ominous disappearance of a classroom of children, who all disappeared into the night at 2:17 AM. Not much is known about what else might happen in “Weapons,” but if this film is anything like Cregger’s previous film, it is best to go in knowing as little as possible. 

4. The Smashing Machine

Benny Safdie returns to directing with his first film since “Uncut Gems” in 2019. “The Smashing Machine” stars Dwayne Johnson and Emily Blunt. Johnson plays MMA star Mark Kerr, and Blunt plays his then-wife in the sports drama. 

“The Smashing Machine” plays an interesting role in the Safdie brothers’ narrative, as this is the first time the brothers have split up when making a movie. Johnson looks nearly unrecognizable in his role as Mark Kerr and is the movie star’s first serious role in many years. There is speculation that “The Smashing Machine” might be Johnson’s run at getting award recognition. 

5. Marty Supreme 

The other half of the Safdie-brother duo, Josh Safdie, is also releasing his first solo film this Christmas. “Marty Supreme” is a sports comedy-drama set in the world of competitive ping-pong. Timothee Chalamet plays Marty Mauser with a supporting cast from Gwyneth Paltrow and musician Tyler, the Creator. “Marty Supreme” is loosely based on the real table tennis legend, Martin Reisman.  

With the release of two separate Safdie-brother films later this year, it will be interesting to see which films are preferred by audiences and the Academy Awards. 

6. One Battle After Another

Paul Thomas Anderson teams up with Leonardo DiCaprio for the first time in his new film “One Battle After Another”. The film follows a group of former revolutionaries who have to team up to save their daughter. The new film is based on a Thomas Pynchon novel titled “Vineland”. This is Anderson’s second time adapting a novel from Pynchon, the first being “Inherent Vice”. 

 “One Battle After Another” is Anderson’s most expensive film to date, coming in at a budget of roughly $140 million. For fans of Anderson’s work, it will be exciting to see how the director works on a higher budget. This is also the first film from Anderson to get an IMAX release.

7. Highest 2 Lowest 

Akira Kurosawa’s crime film “High and Low” is often regarded as one of the best films to come out of 1960s Japanese cinema. Filmmaker Spike Lee brings that story back to life in his latest film, “Highest 2 Lowest”. 

This new adaptation of the classic film stars Denzel Washington, ASAP Rocky, and Jeffery Wright. The story follows a struggling businessman, who must ransom money when kidnappers accidentally kidnap his chauffeur’s child. It is not yet known what changes Lee will make in his version of the film, but audiences can be certain that “Highest 2 Lowest” will feature the life and flair that Spike Lee films are best known for. 

8. Together 

Dave Franco and Alison Brie’s body horror film “Together” is a film that generated a lot of positive buzz coming out of this year’s Sundance Film Festival and SXSW Festival. The horror film has gained even more buzz due to controversy surrounding the film’s script and possible plagiarism. 

Controversy aside, “Together” is one of the most intense horror films of the year with its use of body horror and exploration of complicated relationship dynamics. Franco and Brie, a real-life married couple, play a couple in a struggling relationship that moves to the countryside and discovers a mysterious force in a cave.  

9. Sorry, Baby

“Sorry, Baby” is the directorial debut of filmmaker Eva Victor. “Sorry, Baby” first premiered at this year’s Sundance Film Festival, where it was nominated for the Grand Jury Prize and won the Waldo Salt Screenwriting Award. Victor also stars in the movie, which follows the story of a college professor trying to recover from an assault. The film features supporting performances from Naomi Ackie and Lucas Hedges. 

While “Sorry, Baby” might be the definition of an indie darling, it does have a good chance at getting recognition in the Academy Awards in the screenwriting category. “Sorry, Baby” opened in limited release on June 27 and will open for a wider release on July 18.

10. Avatar: Fire and Ash

James Cameron brings audiences back to the world of Pandora in his third “Avatar” installment. “Fire and Ash” brings back the already established cast from the previous two films as Na’vi encounters the dangerous clan called the “Fire People”. 

“Avatar: Fire and Ash” is the biggest film coming out during the final quarter of the year. Cameron’s first “Avatar” film from 2009 is still the highest-grossing movie to date, standing at $2.9 billion. Cameron’s sequel from 2022 made 2.3 billion dollars and is currently the third highest-grossing film on the all-time list. Will the third chapter in the “Avatar” franchise continue the $2 billion trend this winter?

The post The 10 most exciting movies coming out later this year appeared first on Utah.Film.