Suburbicon review: George Clooney delivers a creepy and kooky crime caper, which just about manages to satisfy, but far from surprises.
Suburbicon review by Paul Heath.
George Clooney debuts his sixth film as a feature director, a movie that was marketed as a very dark comedy, but Suburbicon is much more than that – a Coens-esque dark drama featuring an all-star cast, including Matt Damon, Julianne Moore, Oscar Isaac and many more.
Suburbicon refers to the quiet family town somewhere in middle America, a community lined with rows and rows of houses, schools and amenities. It’s the mid 1950s and Matt Damon is the central character, Gardner Lodge, a father of one who is madly in love with his wife’s sister Margaret (Julianne Moore – who assumes both parts). His wife’s existence, which is now confined to a wheelchair following a terrible accident, is an inconvenience for Lodge, who, along with Margaret, stages a home invasion to bump off the wife and claim on the insurance money before jetting off to Aruba to enjoy the rest of their lives together. Things don’t quite go to plan though, as soon after the job has been carried out, insurance investigator Roger (Oscar Isaac) comes into play, and he has some of his own conniving tricks up his sleeve that he’s about to set into motion.
Next door to the Lodge’s house is a new family who have just moved in. Their arrival has sparked outrage across the town and has been the prime focus of everyone’s attention as they are the first black family to reside in the manicured society of Suburbicon, thus completely missing the turmoil Lodge and co. are inflicting just yards away.
Clooney has certainly delivered an entertaining piece of work with Suburbicon, but it is far from an exceptional one. Clearly influenced by collaborators Joel and Ethan Coen, who co-wrote the screenplay with Clooney and Grant Heslov, the film has many of their traits. It has a very kooky nature, revolves around a hideous crime, much like most of the Coen’s output, and is very, very violent, particularly towards the end. The film is enjoyable, but oh so very dark which some viewers may struggle to come to terms with. What it does lack is the foreboding intensity that it is definitely attempting to achieve, which is a shame as there was so much potential here.
Technically it is absolutely brilliant – Alexandre Desplat’s glorious soundtrack and Robert Elswit’s stunning cinematography definitely worthy of mention.
All of the cast are also on top form – from Damon’s jet black portrayal of Lodge, to Moore’s exceptional dual roles, and firm support from the likes of young Noah Jupe, and a stand-out Oscar Isaac who relishes his work as insurance guy Roger.
Suburbicon delights mostly, but won’t rank too highly on a best of show list for the year, which is a little bit of a let down. With its social commentary and burning issues littered throughout, it could raise a little debate, but otherwise this is just another run-of-the-mill mystery.
Suburbicon review by Paul Heath, September 2017.
Suburbicon screens at the 2017 Toronto International Film Festival. It will be released on 24th November 2017 in the UK.
