Ari Aster has earned a reputation as one of the most talked-about filmmakers of recent years, with his Ari Aster movie rankings sparking intense debate among audiences and critics alike. His films, ranging from the critically acclaimed Midsommar to the divisive new release Eddington, showcase a filmmaker who divides opinion deeply over style, story, and substance.
Beginning his career with the harrowing Hereditary and following it with the mesmerizing Midsommar, Aster quickly became recognized as a leader of elevated horror alongside peers like Robert Eggers and Jordan Peele. His early work was praised for its originality and emotional power, earning admiration even from renowned filmmakers such as Martin Scorsese. Yet his latest films, Beau Is Afraid and Eddington, reveal a more polarizing creative direction, leaving many unsure about where Aster is headed next.
Beau Is Afraid: Loud but Lacking Depth
Released in 2023, Beau Is Afraid stars Joaquin Phoenix as Beau, a man dominated by the overwhelming presence of his overbearing mother, played by Patti LuPone. The film attempts to explore the mother-son dynamic, but critics argue it falls into well-worn clichés without offering new insight. Rather than deepening the subject, Beau repeatedly emphasizes its theme to the point of exhaustion, prompting many viewers to feel overwhelmed and frustrated by the film’s relentless insistence.
While some may accept its surface-level approach as acceptable, considering the success of similar archetypes in popular sitcoms, Beau Is Afraid suffers from making its thesis so loudly that the impact dilutes into repetition. Despite this, the movie includes striking sequences, such as a surreal forest episode, which demonstrate Aster’s visual inventiveness.
The performances stand out strongly. Joaquin Phoenix brings a raw vulnerability and comedic touch reminiscent of his roles in The Master and Joker. Parker Posey delivers her usual scene-stealing turn as Beau’s love interest, and Nathan Lane’s surprising role as a suburban dad adds complexity to the cast. Yet, even with these elements, the film’s overall message feels shallow, akin to a “hack comedian saying, Moms, amiright?” without much more to offer.
Eddington: A Genre Experiment that Divides
Ari Aster’s 2025 release Eddington has already sparked varied reactions, with many critics struggling to agree on its meaning or effectiveness. The film centers on Joe Cross, a right-wing sheriff portrayed by Joaquin Phoenix, during the politically charged summer of 2020. While the premise suggests a dark political thriller, Eddington initially plays like an uninspired homage to the Coen Brothers, lacking the humor and charm that define their most memorable characters.
Joe Cross, positioned as a bungled schemer in the vein of characters from Fargo or No Country for Old Men, fails to captivate due to Aster’s reluctance to embrace screwball comedy tones. Much of the film feels like a surface-level acknowledgment of political turmoil rather than a profound exploration. This quietness becomes problematic, making the movie’s thin story even less engaging.
However, about 90 minutes in, the film takes a darker, violent turn that shifts the narrative tone and recaptures some of Aster’s signature control and intensity. Joe Cross transforms into a more compelling figure with surprising depth, joined by two of the movie’s strongest characters: Louise, his troubled wife played by a deglamorized Emma Stone, and Michael, a Black deputy portrayed by Micheal Ward, who contends with becoming a political pawn.
This tonal change injects vitality into Eddington, but also reinforces the notion that Aster’s strengths lie away from comedy and more firmly in horror or intense emotional drama. The film’s mixed reception highlights the director’s risky exploration of new territory, which may challenge or alienate his audience.
Hereditary: A Haunting Family Tragedy
Ari Aster’s debut, Hereditary, released in 2018, remains a towering achievement that could easily dominate any ranking of his work. This film, which unfolds the unraveling of an American family after the death of its matriarch, established a new standard for the horror genre that is as much about human trauma as supernatural terror.
The film’s success lies in its refusal to be pigeonholed. Though it shares traits with the era’s “trauma is horror” subgenre, it also delves into sinister cult practices, including disturbing rituals led by devil worshippers obsessed with decapitation. These layers blend seamlessly through Aster’s mastery of mise en scène, revealing horror both psychological and literal.
Key to Hereditary’s power is the layered relationship between Annie (Toni Collette) and her son Peter (Alex Wolff), which communicates deeper familial pain and generational dysfunction. The film’s technical craftsmanship warrants particular praise — small movements in a static shot can reveal possessed family members, generating fear while simultaneously evoking heartache for the complex bonds between loved ones.
Midsommar: A Bright and Terrifying Cult Experience
Midsommar (2019) remains Ari Aster’s most discussed and brilliantly unsettling work, known widely for its disturbing final shot that continues to provoke intense debate. The film follows Dani, played by Florence Pugh, as she joins a trip to rural Sweden with her boyfriend Christian (Jack Reynor) and his friends, only to become entwined with a deadly pagan cult.
Unlike many horror films that provide clear resolutions, Midsommar deliberately leaves the meaning of its ending ambiguous. Dani’s final expression can be interpreted as either a relieved smile upon finding community or a haunted recognition of inescapable despair. This lack of definitive closure extends even to Florence Pugh’s interpretation, highlighting how the film invites viewers to wrestle with complex emotions.
The movie contrasts its bright Scandinavian setting with devastating loss, beginning with Dani’s family tragedy involving her sister’s suicide and the death of their parents. Throughout the story, Dani’s gradual acceptance of the cult’s violent traditions offers a chilling meditation on how people confront death—suggesting that the cult’s brutal rituals provide a form of control or relief absent from modern life.
Looking Ahead at Ari Aster’s Career Trajectory
Ari Aster’s movie rankings reveal a filmmaker unafraid to challenge expectations, sometimes at the cost of alienating audiences. His first two films, Hereditary and Midsommar, demonstrate a mastery of horror grounded in emotional complexity and visual precision. Yet Beau Is Afraid’s cacophonous approach and Eddington’s uncertain tone signal a creative phase marked by experimentation, uncertainty, and division.
With Eddington currently playing in theaters, viewers and critics alike are left to consider where Aster’s path will lead next. Will he refine his storytelling balance, or continue to push boundaries in ways that provoke as much frustration as fascination? Regardless, his influence on modern horror and genre cinema remains significant, and his evolving filmography continues to spark debate about the nature of art, audience, and genre itself.
