Ron Howard filming Eden
For the last few years especially, Ron Howard seems to be fascinated by bringing true stories to the screen. Whether that comes in the form of fictionalized retelling of actual events, like Rush, In the Heart of the Sea, Thirteen Lives, and yes unfortunately, Hillbilly Elegy, or frequently shifting his focus to documentaries like The Beatles: Eight Days a Week - The Touring Years, the José Andrés-focused We Feed People, or this year’s Jim Henson Idea Man.
In setting up this new paradise, Howard, working with a script by Noah Pink, takes his time building this world and the dynamics of this slow-growing island community, and at times, this can be a bit of a slog. At one point, Law’s Dr. Ritter is working on his book, and gets stuck on the sentence, “Our purpose is…” and it feels like Howard and Pink are also in search of finding a purpose, beyond Howard’s excitement over this bonkers story.
But it’s in the second half where Howard truly finds his groove, embracing the darkness with a violent, pulpy direction that feels like Howard attempting to push himself in a way we haven’t seen in quite some time. After all these years, it is exciting to see Howard attempting material so unlike anything he’s done before, and it’s a tone that looks good on the veteran director.
Yet it’s when Eden has these factions clashing that the film is at its dark best, where Jude Law, who is probably losing it, faces Brühl’s war vet, and de Armas’ army of lovers. How these allegiances shift and change over time is quite a bit of fun, and every character has such a unique perspective on their situation that it’s hard to believe such rich characters actually existed.
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