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>According to Scorsese, Aster “dives right into the side of American life that many people can’t bear to look at or even acknowledge — no one wants to listen to anyone else, which is frightening.” Such soft-headed thinking could also be applied to Killers of the Flower Moon, Scorsese’s own shaming of America’s social rot and systemic racism. That was Scorsese’s first politically pointed movie, conceived during Covid’s national insecurity. But Eddington is equally out of touch; it’s just another overblown Aster horror show (Beau Is Afraid, Part 2) and, because of its violent excess, of little significance. Eddington is so solemnly goofy that its vision of polarized America might as well not be a satire. Scorsese’s praise sounds significant, but by leaving out the word “exploitation,” it’s his political cop-out.
>Scorsese and the coterie of reviewers who praise Eddington don’t seem to realize that they’re issuing cultural mandates, just like the arrogant media elites who pushed the Covid-19 crisis and whom we can no longer trust. The Los Angeles Times raved, “If we’re cackling at ourselves together in the theater, we’re less alone.” But that’s the same leftist, “we’re-all-in-this-together,” Move On malarkey that made the Covid years so infuriating. (That L.A. Times reviewer calls Aster’s mention of Antifa mere “innuendo,” as if the violent organization didn’t exist.)
https://www.nationalreview.com/2025/07/eddington-sensationalizes-american-panic/