Greg, it’s time to watch George Clooney’s biting critique of suburban America.
More like his ultra-liberal wet dream – Suburbicon. Let’s Recap.
We meet Gardner Lodge (Matt Damon), his crippled wife Rose (Julianne Moore), sister-in-law Margaret (Julianne Moore), and son Nicky (Noah Jupe). They live in Suburbicon, a fictitious all-white middle-class neighborhood in 1959 America.
Young Nicky Lodge neighborhood is up in arms because a black family has moved in next door. Nicky’s invalid mother Rose tells the boy to go play with the family’s young boy. This causes unrest in Rose’s sister, Maggie. That night, two men come to Nicky’s house and tie him, his father Gardner, his mother, and his aunt up and chloroform them into unconsciousness. But just as Nicky is drifting off, he sees one of the men give Rose an additional dose of chloroform. When he awakes in the hospital, he learns that his mother is dead.
Greg, Suburbicon is a Coen brothers misfire. Intended to be a dark comedy, the film is instead a soul-crushing story that left me thinking, “what’s the point?” There are two stories running parallel here, the main one involving a love-triangle murder to collect on a life insurance policy. The second storyline isn’t so much a story as it is a neighborhood’s violent tirade against an African-American family. The connection between these two tales isn’t fleshed out, and all I can figure is that the main story is about family dysfunction while the secondary story shows us societal dysfunction.
Everyone in this film is a vile character, with the exception of Nicky’s uncle, who dies while saving the boy from one of the killers. I get the impression that the Coen brothers felt like producing something dark a la Fargo but they forgot to insert Fargo’s cleverness or charm. There are no real heroic journeys to follow, only an anti-hero story that went basically nowhere. Even the film’s ending fell flat, with Nicky deciding to go play ball with his African-American buddy next door while blood-soaked bodies are littered about his home. I suppose this ending is intended to offer a sliver of hope, but I found it to be totally contrived.
I fully concur, Scott. This film is supposed to be some sort of cynical look at White America in the 1960s. I suppose what the twin stories is supposed to show is that Suburbicans thought the nice Black family were monsters, when in fact the true monsters were right next door.
There’s a point in the story when the insurance adjuster proclaims “There are just so many coincidences. One coincidence smells bad, but too many make a story smell really bad.” He could easily have been talking about this very movie. The boy, Nicky is not supposed to be at the initial police line up, but there he is. He’s not supposed to be in the room, but there he is. Someone turns the light on, and the bad guys can see him through the two-way mirror. And this is just in the first 20 minutes of the film. Truly, a more contrived set of circumstances could not have been created in a motion picture.
The thing that really grinds my gears is that this is not the film we were sold in the trailers. If you look at them, they sold us a dark comedy about a milquetoast man who defends his family, home, and neighborhood from the onslaught of an external mafia invasion. That seems interesting. But this film, whatever it thought it was, was not anywhere near what was promised.
There is an anti-hero’s journey of sorts, with Gardner descending into a dark world (which he’s made for himself). His descent gets deeper as one mishap after another seals his fate. Gardner doesn’t really undergo any type of transformation, although one could possibly argue that his villainy escalates during his attempt to save his skin. The secondary plot is void of any hero’s journey or transformation unless, again, one makes the argument that the neighborhood’s intolerance of the African-American family grows increasingly hostile over time.
I fully agree, Scott. The confusing thing about this story is that it’s told pretty much from the point of view of the young boy, Nicky. And yet, it’s the story of the anti-hero father. The story of the next-door-neighbor Black family is merely a side-by-side comparison. Nothing is learned and the artistic statement falls flat. This was a total waste of celluloid. Oh wait, this was a digital movie, so there’s a small win in that no film was harmed in the making of this story.
Suburbicon was a complete waste of time and resources. George Clooney and his Coen brother friends have lost their minds thinking that they were telling some sort of tale of White corruption. In fact, they promised a campy comedy and delivered a complete zero of a movie. Sadly, several very good performances, camera work, and costuming were also wasted. As much as I wanted to give zero Reels, I have to at least appreciate the visual appeal of this film. I give Suburbicon just 1 Reel out of 5.
The main character is the anti-hero Gardner Lodge. But the story is told through the eyes of young Nicky. If we view this as an anti-hero story we have to decide if the decline and eventual downfall of the protagonist delivered a cautionary tale. I’d say it did not. There is no real message to this story and the journey that both Gardner and young Nicky take leave us nothing of value. I give them 0 out of 5 Heroes.
And finally, we look for transformation in our movies and there is little to be found here. Almost anyone of note in the story ends up dead. Even Gardner is killed not by any action of his own or his son’s, but by accidentally eating the poisoned sandwich Margaret had intended for Nicky. So, Nicky doesn’t even stand up for himself but is saved by happenstance. I award 0 out of 5 Deltas for Suburbicon.
Suburbicon might as well have been named Subpar-icon. It baffles me that the Coen brothers and George Clooney bought into this anemic and unsatisfying screenplay. The main story simply describes a crime gone awry, and the peripheral story is merely the depiction of angry racists. It’s sad to give the Coen brothers only 1 Reel out of 5 but that’s all this film deserves.
I see that you’ve given both the heroes and their transformation a rating of zero, Greg. You make a good argument that there is nothing heroically of value, yet there may be a smidgeon of an anti-hero’s journey worth considering. Unlike you, I do see a cautionary tale here, with Gardner reminding us that crime never pays and that karma is a bitch. So I’ll give the anti-heroes 1 measly hero rating out of 5. The paucity of transformation merits (if that’s the right word) a barren 0 out of 5 Deltas.