EddingtonisAri Aster’s latest movie, but why is its Rotten Tomatoes score so much lower compared to his highest movies? Aster made a name for himself by writing and directing theA24 horror moviesHereditary(2018) andMidsommar(2019). Both bewitched critics and audiences alike, weaving grief into terror. The former made over $87 million at the box office –A24’s highest-grossing movieat the time of its release.
In a bold departure from his bread and butter, Aster ventured into the disorienting labyrinth of surrealism withBeau Is Afraid(2023)– a tragicomic odyssey of maternal dread and existential absurdity. Though critics mostly embraced its psychological daring with cautious admiration, audiences proved elusive. The film faltered financially, making a modest $11 million despite its sprawling ambition and auteur pedigree.
Aster’s upcoming movieEddingtonunfurls as a darkly whimsical tapestry woven from neo-Western grit, biting satire, and dark comedy. Set in the fictional dust-swept town of Eddington, New Mexico, during the COVID-19 pandemic in 2020,the film chronicles the explosive feud between a mayor and sheriffand features a star-studded cast that includes Joaquin Phoenix, Pedro Pascal, Austin Butler, and Emma Stone.
Eddingtonpremiered at the Cannes Film Festivalthis past May and, likeBeau Is Afraid,received generally positive reviews from critics, yet its acclaim remains gentler than that of Aster’s earlier horror masterpieces –HereditaryandMidsommar.
Eddington’s Rotten Tomatoes Score Is The Lowest Of Ari Aster’s Career
What Are The Reviews Saying?
Eddingtoncurrently holds a 68% score on Rotten Tomatoeswith 77 reviews from critics, which is tied withBeau Is Afraidfor the lowest score from the critics of Ari Aster’s career. In contrast, his earlier horror filmsHereditaryandMidsommarscored significantly higher, with 90% and 83% respectively, marking a significant decline in critical reception for his latest two projects.
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Eddingtonis currently tied for his lowest scorelargely due to its polarizing political content and chaotic tone. For instance, inScreenRant’sEddingtonreview, Graeme Guttman calls it “a galaxy-brained COVID western comedy that bites off more than it can chew, but it still feels admirable for capturing the times.”
While critics widely acknowledge its ambition and boldness,many argue the film is overstuffed and incoherent.Peter Sobczynskicalls it a “peculiar and rambling misfire,” whileEdward Douglasfinds it “equally esoteric and pointless” compared toBeau Is Afraid.Much of the criticism stems fromEddington’s heavy-handed satire and overt political messaging.
Some reviewers feel Aster tackles too much without focus, leaving the film muddled and exhausting. Critics like Doug Jamieson ofThe Jam Reportsay it’s “so pleased with itself that it forgets to entertain.” Similarly,The New Yorker’s Justin Chang says the movie “descends into sniggering superiority” rather than offering meaningful insight into its themes.
The film’s aggressive political stance has turned off certain viewers. While some praise its raw commentary, like Mark Jackson ofThe Epoch Times, noting Aster “quietly [takes] the side of the young masked-up progressives,” others, like Steve Erickson ofArts Fuse, found it smug and condescending. Joonatan Itkonen ofToisto.neteven called it “irresponsible, uncurious, and smug,” criticizing Aster for not properly engaging with the issues he satirizes.
Stylistically,Eddingtonswings wildly, blending genres like neo-Western, political satire, and psychological drama. While a few found this daring,some see it as messy and incoherent. Critics like Lindsey Bahr of theAssociated Presssuggest the movie “feels like the last thing any of us need,” whileMetro’s Tori Brazier simply admits, “I was bored.” The lack of emotional clarity and tonal whiplash has ultimately alienated many viewers.
Despite its detractors,Eddingtonhas passionate defenders. Joe Leydon ofCowboys & Indians Magazinesays it’s “discomfortingly but undeniably exhilarating,” and others, like Patrick McDonald ofHollywoodChicago.com, see it as a vital and raw confrontation with modern-day America. But this divisiveness is exactly why the film’s reception is so split, and why its Rotten Tomatoes score reflects Aster’s most mixed reaction yet.
Ari Aster’s Rotten Tomatoes Decline Coincides With A Surprising Pivot
He’s Moved Away From Horror After Hereditary & Midsommar
Ari Aster’s pivot away from horror explains much of the decline in his Rotten Tomatoes scores. WhileHereditaryandMidsommarexpertly fused horror with profound emotional depth,his recent films dive into genres less familiar to his core audience.Beau Is Afraid’s surreal, tragicomic tone andEddington’s chaotic political satire lack the focused horror that first earned him acclaim. This shift has inevitably divided critics and fans alike.
Aster’s willingness to experiment should be seen as a mark of creative courage, not failure.
That said,Aster’s willingness to experiment should be seen as a mark of creative courage, not failure. His move into new genres shows a filmmaker unwilling to be boxed in by expectations or genre conventions. Though the results have been polarizing, they demonstrate Aster’s range and ambition. His work still challenges viewers, even if it doesn’t always achieve the emotional or narrative precision of his earlier horror masterpieces.
Ultimately, the Rotten Tomatoes dip reflects the risks that Aster has taken, rather than a decline in talent. Horror remains his strongest suit, where his unique existential dread shines brightest. But if he continues exploring unfamiliar territory, like he does inEddington, audiences may need to adjust their expectations. In doing so, they might discover that Aster’s surprising pivot could lead to a different kind of greatness, one beyond horror’s shadow.
