Ron Howard’s “Eden” isn’t a movie I’ll soon forget. Ambitious and audacious, this thorny survival thriller is considerably different than anything Howard has done before. “Eden” comes on the heels of the filmmaker’s brilliant 2022 gem “Thirteen Lives”. And while this is a much different movie, “Eden” sees Howard once again exploring a side of human nature through the inspiration of true events. In this case – it’s a much uglier side.

“Eden” is inspired by an astonishing true story that’s told through a star-studded cast, each of whom bring precisely what their uniquely positioned characters need. Howard is joined by screenwriter Noah Pink to deliver a bluntly presented critique of humanity’s dark side. It’s a deceptively smart analysis wrapped in a slow-simmering drama that can be unsettling, amusing, brutal, and even campy. Yet it works and gets its point across surprisingly well.

In 1929, as the world lies in chaos in the wake of World War I, Dr. Friedrich Ritter (Jude Law) and his partner, Dora Staunch (Vanessa Kirby) flee Germany to an uninhabited island in the Galapagos called Floreana. There the two battle harsh conditions and rugged terrain to create their own isolated utopia built upon Ritter’s radical and evolving philosophies. As the two relish their seclusion, Ritter works on his manifesto which he believes will help save humanity from itself. His only connection to civilization is a series of letters he sends through passing trade vessels.

Little does Ritter know, his letters stir up much interest back in Germany. Among those captivated by his writings is Heinz Wittmer (Daniel Bruehl), a former soldier broken from his time in the war. Heinz makes the decision to leave Germany with his noticeably younger wife, Margret (Sydney Sweeney) and their son Harry (Jonathan Tittel) and venture to Floreana. But the Wittmer family’s unannounced arrival annoys Ritter and Dora who don’t appreciate having their solitude interrupted.

But the Wittmer’s are nothing compared to the island’s next visitor – Baroness Eloise Wehrborn de Wagner-Bosquet (a gloriously campy Ana de Armas). She arrives with her two subservient boy-toys, Robert (Toby Wallace) and Rudy (Felix Kammerer), with a cockamamie plan to build an exclusive island resort for millionaires. But first she needs investors, and what better way to woo them than by showing them the island first-hand.

It doesn’t take long for tensions to arise between the three parties. The baroness is a hedonistic whirlwind of privilege and self-absorption. Meanwhile the Wittmers are trying to make themselves a home although some once dormant family conflict makes it difficult. As for Ritter and Dora, they find their philosophies challenged by the invaders and it threatens to drive a wedge between them.

Howard and Pink take their time unwrapping their characters and establishing the conflicts between them. The buildup demands patience and it makes for good drama. But lying at the story’s core is an shrewd examination the ugliness of humanity. Jealousy, deception, and betrayal inevitably breeds animosity and violence. Before long we find ourselves observing a series of nasty psychological chess matches where everyone’s true self come to light.

Again, in numerous ways “Eden” is unlike anything Ron Howard has previously directed. Said to be “Inspired by the accounts of those who survived“, Howard takes us on a twisted journey that is both devilishly intriguing and strikingly audacious. And that journey is fueled by a terrific cast whose commitment can be seen every step of the way. It may be a challenge for some, especially with its deliberate pacing and unflinching final act. But both are vital ingredients that ultimately help give “Eden” its kick. “Eden” hits theaters August 22.

VERDICT – 4 STARS