'Eden' Review

Eden had its World Premiere at the 2024 Toronto International Film Festival. It is currently seeking US distribution.

Ron Howard’s recent track record has been met with absolute inconsistency. It seems as though since his Best Picture-winning film A Beautiful Mind, he hasn’t hit a home run or at least gotten more than a double. He’s known to be a “safe” director, which is the case as many of his movies, especially recent ones, don’t shoot for the moon or offer any new substance. The worriers should be pleased that Eden looks to end this streak, as it’s Howard’s best movie in years, as well as his darkest one ever. It is a gritty thriller that sees a stacked cast consisting of Jude Law, Vanessa Kirby, Sydney Sweeney, Daniel Brühl, and Ana de Armas play a game of survival of the fittest that is sure to be jaw-dropping for all viewers. 

Set in the late 1920s, Eden follows three groups of Germans who fled their country to the isle of Floreana in the Galápagos Islands. Law and Kirby play a doctor and his handicapped wife looking to find solace on the island as the first to do so in an attempt to escape from society. Sweeney and Brühl are a couple with a young son looking for a new start, while de Armas is an enigmatic socialite looking to build the nicest hotel in the southern hemisphere. The three groups find themselves at odds when looking to establish dominance and power amongst each other. Everything that happens from there is sheer bedlam as each group plays mind games to try and turn certain characters against each other. To say things get dark for a Howard movie would be a gross understatement, but it’s best to leave audiences knowing as little about it as possible beforehand.

Right out of the gate, the cast delivers strong performances, from the subtle Kirby and Law to the loud and expressive Brühl and Sweeney. However, de Armas is the MVP of it all, taking on a character far from what we’ve previously seen from her. The Baroness is an evil, manipulative woman whose welcoming demeanor comes off as fittingly reckless and untrustworthy. When we first meet her, she’s being carried off the boat by two servants who are to help her build the hotel. The way de Armas toys with the other island residents and her helpers is devious, and she executes the character’s intentions phenomenally. She’s always been able to adapt to different accents, as she dons an unmistakable German one mixed with other parts of Europe. Sweeney is another contending standout as she gives another fierce performance (similar to her recent horror flick Immaculate).

Howard’s direction and translation of his and Noah Pink’s script are impeccable. Throughout the plot, audiences can never tell whether the characters are playing chess or checkers, with motivations constantly fluctuating. The plot is well-planned and thought out, and the production value fits tremendously. There are some speed bumps in its cinematography and score. DP Mathias Herndl has difficulties shooting this movie, with the coloring giving a grainy color scheme, and the camerawork takes time to find its footing. Hans Zimmer’s score is routine, which unfortunately falls in line with the majority of his work as of late (the Dune films serving as the exception)

Of everything Howard has made thus far, Eden is one of his boldest films, not simply because of its haunted qualities. It speaks volumes and provides a resonant tale, as his best works do. Eden is no different by showcasing how ugly humanity can be in the face of fight-or-die situations. The cast he assembled is one of the year’s best, and it will surely be a conversation topic once it’s picked up for distribution and seen by audiences everywhere.

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