Directed by:
George ClooneyCinematography:
Robert ElswitComposer:
Alexandre DesplatCast:
Matt Damon, Julianne Moore, Noah Jupe, Oscar Isaac, Glenn Fleshler, Gary Basaraba, Alex Hassell, Jack Conley, Tony Espinosa, Karimah Westbrook, Leith M. Burke (more)VOD (1)
Plots(1)
In 1959, the quiet neighbourhood of Suburbicon is home to Gardner Lodge (Matt Damon) and his family. When his home is broken into and his wife Rose (Julianne Moore) murdered, Gardner and his son Nicky (Noah Jupe) welcome Rose's twin sister Margaret (also Moore) into their lives to help take care of them. When insurance agent Bud Cooper (Oscar Isaac) turns up asking questions about the suspicious circumstances of the break-in however, both Gardner and Margaret are suspected of having a part to play in her death. (Universal Pictures UK)
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Reviews (8)
If you were expecting something beyond a standard Coen brothers film, you might be disappointed. As a big fan of Coen-esque crime thrillers with a bitter twist, I was completely satisfied. Having watched a lot of Coen movies, I found some of the twists and turns in the story predictable, but I don't see that as a major downside. I enjoy this type of film, and this one was no exception. For me, Oscar Isaac stole the show. Despite his brief appearance, his scenes were the highlight of the entire film. Overall, I'm glad this forgotten 80s script by the Coen brothers was finally brought to life.
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George Clooney had a Coen script and he wanted to make a Coen film, yet somehow it just doesn't feel right, like he doesn't have the right guts, like he just wants to imitate. That seems like a shame to me. The setting is great, and the racist insert is excellent, but the main story just couldn't hold my attention.
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Clooney's Hitchcockian take on the Coens, even down to the music by Bernard Herrmann... I mean, Alexandre Desplat. I knew absolutely nothing about the plot and thoroughly enjoyed all its twists and turns and surprising moments, waiting to see what would come of it all in the end. It turned out to be a great film. Definitely less comedic than I expected, but great.
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This is just so bland. I don't think George Clooney has ever makes a good movie. I found it very clunky, boring and long-winded. Matt Damon wasn't a good fit for the role, the plot didn't work for me, I didn't find anything funny, and there is a minor editing error in the finale, but it doesn't save the film. It made me suffer. 35%
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Following the example of Preston Sturges’s later work, Clooney attempts to reconcile two seemingly incompatible positions. He interweaves a very slowly escalating, darkly humorous (if you can laugh at the fact that someone drank coffee laced with lye), Coen-esque thriller about a crime that has gone awry (because the characters are mostly incompetent idiots) with a serious critique of racial intolerance. An African-American family terrorised by their white neighbours is rather left in the background of the narrative (we only know their last name and we almost never hear them speak), which seems to be the point of the film. The members of the majority are frustrated because of the problems they have brought on themselves (which overshadow the more serious problems of society as a whole) and are looking for someone to take their anger out on. Minorities are the first to be targeted. However, the film is quite clumsy in establishing causality between the two types of violence and turns to it relatively late (the closing dialogue does a lot to salvage the situation at the last moment). Furthermore, when we don’t yet know the characters’ true intentions at the beginning, we are led to sympathise with the same protagonists whom we will later despise, which in retrospect strikes me as mere screenwriting trickery that does not in any way help to convey the central idea. The choice of a child’s perspective also comes across as a half-baked idea that is not employed very consistently. Particularly the scenes from Nicky’s perspective heighten the feeling of danger, so that we vicariously experience what a black family goes through. I appreciate what Clooney is trying to say about the mood in today’s America (and not only there), as well as the fact that he didn’t choose the easiest path, but the result is noteworthy particularly for why and how it doesn’t work. 65%
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