Eden

Beneath the pretty visual backdrop, Eden reveals some ugly truths about humanity that resonate beyond its confined setting.

This true-life historical drama chronicles an obscure 1920s tale about belief systems, primal instincts, wealth and privilege, power and control, and adults cosplaying Lord of the Flies to tragic effect.

Benefitting from lush tropical scenery, the mildly provocative if meandering film marks an audacious change of pace for director Ron Howard, who sidesteps crowd-pleasing underdog tropes and instead leans into the bleak yet almost comically absurd nature of the source material.

It’s set on Floreana, an otherwise uninhabited South Pacific island where enigmatic Dr. Friedrich Ritter (Jude Law) has retreated with his afflicted wife (Vanessa Kirby) and a small staff for a self-sustaining fresh start away from a society he bitterly loathes.

Some of his writings have found an audience, including a troubled German father (Daniel Bruhl) and his pregnant wife (Sydney Sweeney), who show up unexpectedly and become acolytes, only to be treated with contempt by their host.

Is Ritter some sort of eccentric genius or a delusional madman? His alpha-male bravado, nihilistic philosophy, and pompous dismissal of outsiders gives off cult-leader vibes. “In pain, we find truth, and in truth, salvation,” he says cryptically.

The quartet reluctantly forms a makeshift colony that’s interrupted by the Baroness (Ana de Armas), who announces ridiculous plans for a luxury hotel and resort to lure the world’s elite.

With the Baroness and her handlers staking a claim, it triggers a chaotic battle for survival, with coexistence no longer an option. Meanwhile, Ritter doesn’t fully grasp the folly of his ways until it’s too late.

Plus, as danger lurks around every corner, it’s clear that Mother Nature has the upper hand over these ill-equipped misfits, if they don’t destroy each other first.

The top-notch cast is committed, even while taking some liberties with accents. The lack of sufficient depth or dimension for their characters makes them less likeable, but perhaps more fascinating.

The somewhat muddled screenplay by Noah Pink (Tetris) invites moviegoers to draw contemporary parallels by exploring ideological extremism and the dangers of blind faith.

Despite its flaws, Eden becomes a timeless morality play that mostly avoids cheap sentimentality as a method of manufacturing sympathy and hope where there’s little room for either. Eventually, everyone gets what they deserve, for better or worse.

Rated R, 129 minutes.