In the bosom of Suburbicon, a family-centred, all-white utopia of manicured lawns and friendly locals, a simmering tension is brewing, as the first African-American family moves in the idyllic community, in the hot summer of 1959. However, as the patriarch Gardner Lodge and his family start catching a few disturbing glimpses of the once welcoming neighbourhood's dark underbelly, acts of unprecedented violence paired with a gruesome death will inevitably blemish Suburbicon's picture-perfect facade. Who would have thought that darkness resides even in Paradise?Written by
George Clooney hosted the wrap party December 3, 2016 for the Productions Cast and Crew at The Smokehouse Restaurant in Burbank which his production company is named for and is located across the street from Warner Brothers Studios where the production offices abs stages for the film were located. The host himself narrated for all in attendance a behind the scenes slideshow of the productions activities on set. See more »
Nicky grabs the telephone and locks himself in the room. He's disconnected when the cord is pulled out. Later, Mitch uses the phone to try and call the police. See more »
[as story book pages are turned]
Welcome to Suburbicon, a town of great wonder and excitement. Founded in 1947, Suburbicon was built with the promise of prosperity for all. And in only 12 short years, it has grown from a few small homes to a living, breathing community with all the conveniences of the big city without all the noise or the traffic. And now, with nearly 60,000 residents, they enjoy their own schools, a fire department, and a police department. There's a shopping mall....
See more »
At the opening of the film, the movie title is shown on the cover of a book describing life in the town, which becomes animated. See more »
I Ain't Got Nobody
Written by Spencer Williams and Roger Graham
Published by Chester Music Limited trading as Campbell Connelly & Co
Performed by Urbie Green Big Band
Courtesy of MCA Records Inc.
Under license from Universal Music Operations Ltd See more »
George Clooney's latest directorial effort, overflows with Oscar-level talent both on camera and off. A quick glance at the credits list on IMDb would make moviegoers flush with excitement. But sadly, Suburbicon is one of those cases in which a movie with a loaded cast teamed with a star director and writers turns out awkwardly, embarrassingly wrong. It's unfunny, ill-fitting, frustrating, pretentious, tone deaf and abysmal. In other words, this movie is a disaster.
In addition to Clooney directing and the Coen brothers writing, the movie features the tremendously talented Julianne Moore and Matt Damon, who both feel like they're going through the motions of a walk-through day at practice. The stoicism of Moore and Damon's dorky dimwitted schtick both feel tired—been there done that. Given the limitations bestowed on them and their stiff characters, their half-hearted efforts are understandable, but nonetheless disappointing.
Suburbicon's greatest flaw is its mismatched identity. It doesn't know what it wants to be. Attempting to weld together two incompatible story lines, it throws the audience for a loop. Is it a socially conscious tale of racial mistreatment with the backdrop of a "perfect" all-white 1950s neighborhood, or is it a satirical Fargo-like family scam gone darkly and comically awry? A movie can't be both, so it succeeds at neither. Simply put, it just doesn't work.
Clooney and Coen brothers have produced sweet music on past projects, but they have different goals here. The Coens provide a zany violent spice as Clooney strives for an earnest political commentary zest. The combination leaves the movie with an incongruous and unpleasant flavor.
Mercifully, there are a few highlights. The consistently excellent Oscar Isaac provides a charming liveliness and the promising young Noah Jupe delivers a helping of humanity to a movie that is mostly starved of decency.
Alongside the scam family's disarray, a more disturbing story takes place as the town's first black family arrives (remember, this is the 1950s). The quiet and respectable family is tormented, subtly at first, rapidly escalating to a mob scene complete with violence, vandalism and fire. What is this disgusting side story doing in the movie? What purpose does it serve? Seemingly none. It's condescending and obnoxious. The father of the tormented family doesn't even receive a single speaking line. This story's inclusion a clumsy attempt to depict racism that uses the black actors as mere showpieces, rather than meaningful, developed characters.
The racial subplot is so vague and shallow that it winds up feeling empty. The rest of the movie isn't much different. This movie was not worth any of these stars' time and it's certainly not worth yours.
92 of 145 people found this review helpful.
Was this review helpful to you?
| Report this