‘Eddington’ unmasked: Another slick, sick joke on American moviegoers

Director Ari Aster ’s “Eddington,” which has inspired more heated discussion than it ticket sales, drops us unpleasantly back into an America at the peak of COVID-19 hysteria.

Our putative protagonist is Joe Cross, well-intentioned but beleaguered sheriff of the small desert outpost of Eddington, New Mexico.

Aster’s previous films resolve with satanic forces claiming victory over well-meaning innocents just trying to grapple coherently with temptation and strife.

Already burdened with a psychologically fragile wife (Emma Stone) and a live-in, conspiracy-obsessed mother-in-law (Deirdre O’Connell), Cross must now keep the peace for a populace bitterly divided over masks, social distancing, and business closures, while facing down BLM riots. His downtime doomscrolling (remember the black squares on Instagram?) offers no relief.

Six-feet showdown

Cross himself is COVID-skeptical, to the say the least, which puts him at odds with Mayor Ted Garcia (Pedro Pascal), the kind of slimy, fake, media-savvy politico who could give California Governor Gavin Newsom (D) a run for his money.

Watching the first half of this movie in 2025 is enjoyably cathartic. Even the audience at the screening I saw — in an art-house theater in liberal Chicago — cringed at the movie’s virtue-signaling adults and their brainwashed teens. The biggest laugh came when a father, having just been subjected to a rant from his son about “white abolition,” blurts out, “Are you f***ing re****ed? YOU’RE white!”

I doubt I have to remind anyone that only a few years ago, these reactions would have been very different.

Truther or dare

From our vantage point in 2025, Cross seems to be the most levelheaded man in town, a flawed but decent public servant trying to make sense of a world gone mad. Finally, we think, a belated but nonetheless welcome jab at the liberal delusions that held sway in our country for the last decade.

That’s when Aster pulls the rug out from under us. Our hero makes a series of choices that progress from foolhardy to downright evil, choices he ends up paying for in the most grotesque way possible. We, in turn, are punished for daring to identify with Cross. It’s as if Aster wants to leave us not merely disillusioned but utterly humiliated.

Pascal’s ostensible villain also falls away to reveal a much more formidable nemesis: the powerful corporation behind the development of Eddington’s much-contested “SolidGoldMagikarp Data Center.” These shadowy Big Tech overlords seem to validate every paranoid imagining of the online fringes, right and left: jetting in hooded, well-trained shock troops to carry out false-flag “Antifa” attacks and thwart populist dissent, distracting a divided and confused public from the very real threat they represent.

RELATED: ‘Eddington’: Portrait of COVID-era craziness wrings laughs from peak wokeness

Eric Charbonneau/A24 via Getty Images

Jabber jibber

Now … some critics may believe that this is the main message of the film. That the struggle is Them vs. Us. The real villains are the faceless “Eyes Wide Shut” cabal of world controllers who send out their minions to subvert the will of the people. “Smart viewers understand this,” the critics will say.

Well, I’m a smart viewer, and I don’t care about that. Maybe it is Them vs. Us in real life, but in Hollywood, and to Ari Aster, and to the audience in the theater on both sides of the aisle, the message of “Eddington” is clear: You can’t win.

Aster’s previous films, “Beau Is Afraid,” “Midsommar,” and “Hereditary,” all resolve with satanic forces claiming victory over well-meaning innocents just trying to grapple coherently with temptation and strife. No one is held accountable for the perpetration of this violence; there is no justice or righteous retribution.

“Eddington” turns out to be just another variation of this story, this time using COVID instead of the supernatural to torture its characters. The question we should ask is who benefits from this nihilistic message?

Certainly not the audience. Joe Cross and the people of Eddington may be stuck where they are, helpless before the whims of their sadistic creator, but there’s nothing keeping us in town. None of us would want to live in Aster World; maybe it’s time we admitted it’s not even a nice place to visit.