Eddington is Ari 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 the A24 horror movies Hereditary (2018) and Midsommar (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 movie at the time of its release.

In a bold departure from his bread and ʙuттer, Aster ventured into the disorienting labyrinth of surrealism with Beau 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 movie Eddington unfurls 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 sheriff and features a star-studded cast that includes Joaquin Phoenix, Pedro Pascal, Austin Butler, and Emma Stone.

Eddington premiered at the Cannes Film Festival this past May and, like Beau Is Afraid, received generally positive reviews from critics, yet its acclaim remains gentler than that of Aster’s earlier horror masterpieces – Hereditary and Midsommar.

Eddington’s Rotten Tomatoes Score Is The Lowest Of Ari Aster’s Career

What Are The Reviews Saying?

Eddington currently holds a 68% score on Rotten Tomatoes with 77 reviews from critics, which is tied with Beau Is Afraid for the lowest score from the critics of Ari Aster’s career. In contrast, his earlier horror films Hereditary and Midsommar scored significantly higher, with 90% and 83% respectively, marking a significant decline in critical reception for his latest two projects.

Eddington is currently tied for his lowest score largely due to its polarizing political content and chaotic tone. For instance, in ScreenRant‘s Eddington review, 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 Sobczynski calls it a “peculiar and rambling misfire,” while Edward Douglas finds it “equally esoteric and pointless” compared to Beau Is Afraid. Much of the criticism stems from Eddington‘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 of The Jam Report say 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 of The Epoch Times, noting Aster “quietly [takes] the side of the young masked-up progressives,” others, like Steve Erickson of Arts Fuse, found it smug and condescending. Joonatan Itkonen of Toisto.net even called it “irresponsible, uncurious, and smug,” criticizing Aster for not properly engaging with the issues he satirizes.

Stylistically, Eddington swings 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 the ᴀssociated Press suggest the movie “feels like the last thing any of us need,” while Metro‘s Tori Brazier simply admits, “I was bored.” The lack of emotional clarity and tonal whiplash has ultimately alienated many viewers.

Despite its detractors, Eddington has pᴀssionate defenders. Joe Leydon of Cowboys & Indians Magazine says it’s “discomfortingly but undeniably exhilarating,” and others, like Patrick McDonald of HollywoodChicago.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. While Hereditary and Midsommar expertly 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 and Eddington‘s chaotic political satire lack the focused horror that first earned him acclaim. This shift has inevitably divided critics and fans alike.

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 in Eddington, 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.