Once a sure awards contender, now a rotten tomato, Suburbicon has landed in theatres. Let’s see what it has to offer.
IMDb summary: A home invasion rattles a quiet family town.
- Suburbicon was directed by George Clooney (this was his 6th directorial outing but the first time that he did not star in a film he directed) from a script by the Coen brothers (Hail, Caesar!, Bridge of Spies, Unbroken), George Clooney himself, and Grant Heslov (actor-turned-producer/writer). Just looking at the list of talent involved behind the camera, this movie should have been great. And while it was surprising in the fact that it was not what I expected thematically, it was also not what I expected quality-wise.
- Suburbicon appeared to have two separate storylines that had little to do with one another, except maybe were there to be contrasted. The film opened with the event of an African American family moving into an idyllic white neighborhood. The racist undertones of the community’s reaction to their new neighbors quickly evolved into a racist attack and a riot – things that we should have left in the 1960s but which feel very contemporary. Another, supposedly main storyline, involved Matt Damon’s character. That plotline came a bit out of nowhere – we didn’t even meet Damon’s character in the set-up. The idealized facade of his family was never believable – the secrets that were supposed to be hidden could very easily be predicted. Suburbicon wasn’t subtle, let’s just say that. The parent-child dynamics and the husband cheating with his wife’s twin sister were both interesting concepts to explore but that didn’t really happen.
- The whole writing of the film started off quite simplistic and, while it did get more complex and compelling as the narrative unraveled, it never really reached the level of quality that was desirable. The two storylines never connected in the movie itself, they could only be brought together by the viewer. I interpreted the decision to have these two family plotlines side by side as an attempt to make a statement on race and society. The perfect facade of a white family hid deep perversion underneath, while the loving African American family was seen as unacceptable. The truth and appearances didn’t add up and I took the film’s message to be a slight warning for today’s society. I didn’t anticipate any of that to be in the movie from its trailer – that’s what I meant when I said that Suburbicon was thematically unexpected.
- Visually, Suburbicon looked quite nice and neat. In general, I find the 1960s setting aesthetically pleasing, so it was cool to see it realized quite well in this picture. The opening sequence in a style of a fairytale book was also good. The slow pace was a bit of a drag. Suburbicon also felt like a weird mashup of an old-school crime drama and a modern thriller. Some of its scenes of violence were very conservatively left out of frame – filmed as a shadow or only focusing on the characters’ feet, while some other violent scenes were extremely graphic – like the scenes one would expect to see in an R-rated modern thriller.
- Suburbicon had a great cast that deserved better material to work with. Matt Damon (The Martian, Jason Bourne, The Great Wall, soon Downsizing – now his only film for the awards season) and Julianne Moore (Kingsman 2, Mockingjay) were both really good, but a standout to me was Oscar Isaac (Star Wars, X-Men, The Promise) – I loved his spunky and charismatic insurance investigator character. The child lead of the film – Noah Jupe – was also quite good. I swear the child actors, in general, have never been as good as they are now.
In short, Suburbicon was a mediocre film that was not thrilling enough to be a crime thriller or funny/ironical enough to be a black comedy or stylized enough to be seen as an art metaphor.
Trailer: Suburbicon trailer