The film — intentionally or not — is funny as hell. A dinner party features Eloise singing opera while the others look on in annoyance and discomfort; Margaret tells Eloise they had a lovely time at dinner despite it being a disaster. These are characters who we love to hate, and they grow disturbingly more awful as the film goes on. It’s exciting to watch, even in the film’s slower moments. Howard allows them to get as bonkers and untamed as possible. The absurdity of it all is the cherry on top of a delicious cake.

Eden begins to pick up when de Armas’ Eloise shows up, though it takes a while for the film to settle into a groove. Once it does, the petty drama is at an all-time high and the film can be quite a spectacle. Since there are different accounts of the same real-life story, Eden falls into the trap of oscillating between one group and another. Eloise is actually the uniting factor, and the film would’ve been far less interesting without de Armas.