Eden

In the recent tornado of Sydney Sweeney news, it's easy to lose track of what a strong actress she is. She's superb and unrecognizable in Ron Howard's new drama, EDEN.

The least Ron Howard-like film he's ever made, this is an adult, frank and challenging look at an unbelievably true story.

Post WWI, a mismatched group of outsiders look to escape Europe and create a new civilization on Floreana, a desolate Galapagos island. Savaged by every season's weather and nearly inhospitable, they're led there by the news reports about Dr Ritter (Jude Law) and his longtime partner Dore (Vanessa Kirby). The Doctor has spent more than a year setting up a simple farm on the island, sending letters to newspapers in Europe via the occasional, unscheduled ship that visits the island.

As the film opens, we meet Heinz (the always great Daniel Bruhl) his young bride Margret (Sweeney) and their son Harry (Jonathan Tittel). The Wittmer's are heading to the undiscovered utopia because of their son's failing health, inspired by the Doctor's tales of Dore's miraculous recovery on the island from MS.

If they're expecting a warm welcome, they're in for a surprise. Ritter has no desire for any additional population on his island.

What ensues is a battle of sheer will to survive. Whatever challenge that Ritter or the harsh reality of life on the island put in their way, Heinz and Margret prove capable.

Director and Co-Writer Howard (Apollo 13, Cocoon, The DaVinci Code) is in no hurry to tell his story, carefully crafting each step of survival. Days become weeks, weeks become months, months turn to seasons, each with their own harsh realities.

He shares screenplay credit with Noah Pink (Genius, Tetris) and together, they tell a tale that seems impossible, yet proves to be based in truth.

Law is terrific, rude, naked (literally and figuratively) and holding onto grand opinions of civilization that he's constantly tapping into his typewriter and narrating for us.

Kirby (Mission Impossible, Fantastic Four) is wholly different than I've seen her on screen, plain, selfish and as harsh as the island.

Sweeney is inspiring as a young woman who discovers far more than her voice in Ritter's wannabe Eden. I sat through the entire film and had no idea it was Sweeney. She impressed me in 2024's "Immaculate", but surpasses that here with a performance that embraces reserve and animal ferocity in equal measure.

I would not have thought she could top her childbirth scene in "Immaculate" but wow, wait until you survive THIS one!

Just as you settle in to the dynamics of the two families, Ana de Armas is carried onto the beach in a chair held aloft by adoring menservants. The Cleopatra style entrance is funny and absurd. Her Baroness has as many names and titles as she does entitlements, constantly holding her hand out to be kissed. She has brought her lover/architect Rudolph (Felix Kammerer from "All Quiet On The Western Front") along, reviewing grand plans for a luxury hotel that would only cater to millionaires. Her entitlement in the early 1930's seems a century ahead but simpatico with today's boorish social media influencers.

She also has her loyal Robert (Toby Wallace) with her, who's just as liable to hop into bed with her as Rudolph observes from afar.

This new dynamic spins the island and the film in a different direction, upping the conflict and tension, which Howard slowly turns the screw on for the final hour.

The Baroness is something. I'll say no more.

I see some criticism of de Armas' performance, but by the film's end, knowing what you do then, isn't her portrayal spot on?

I loved the arrival, at the start of the final act, of wealthy American land baron G. Allan Hancock, played by Richard Roxburgh (Moulin Rouge, Van Helsing). His arrival in a giant yacht, spilling string quartets and food supplies on the beach in waves stirs the pot to a fever pitch.

I LOVED as the end credits rolled, that Howard showing stills, historical updates and videos of the actual people and island portrayed within the film. It made me rethink the film, realizing that these events actually happened.

Say what you want about Ritter's societal experiment, it certainly generated a fascinating petri dish of mankind.

EDEN is measured, wild and methodical in it's portrayal of these people. If you're patient, it offers some pretty delicious payoffs for all involved. I love that Howard is pushing the boundaries of what we think "A Ron Howard Film" is in 2025.

No one here is playing it safe, Howard included.

EDEN gets a B.