Suburbicon began as a script written by Joel and Ethan Coen back in the 1980s. They shelved it and went on to other stories and justifiable acclaim. George Clooney came across the old screenplay and rewrote it with his longtime partner Grant Heslov (Monuments Men). Clooney’s version of suburban strife is a wash and also easily the worst effort of Clooney’s Oscar-nominated directing career. I wish Suburbicon would make up its mind on which of the three different movies it wants to tell. This is possible proof that Coen brother stories should best be left chiefly to the Coens.
Set amidst the 1950s, an African-American family moves in to an all-white suburban neighborhood and instantly changes the climate. The Mayers have upset the other middle-class white neighbors who want them gone, and they don’t mind subjecting this black family to all forms of harassment to get the job done. Meanwhile, Gardener (Matt Damon) and his wife (Julianne Moore), her twin sister (also Moore), and his son, are threatened by loan shark goons. The family is never the same but there’s more than meets the eye to this domestic tragedy, and the costly cover-up ensnares everyone in danger.
This is a movie that feels badly stitched together with competing ideas and storylines. Two of these competing movies are so haphazard and lazily explored that it feels like Clooney and company tacked them on for some sort of extra failed social commentary about The Way We Live Now. The shame of it is that either of these vestigial storylines could have existed as their own compelling movie. The integration of the suburbs with a black family brings about an intense reaction. Fellow suburbanites harass the family at all hours of the day, destroy personal property, and do everything to let them know they are unwelcome in this “good-natured” community. The reactions are so virulent and disgusting, and all for a family just existing on the block, shopping at the same grocery store, thinking they too were eligible for the American Dream. There’s a movie there in its own right because, as evidenced in Suburbicon, it’s just background for a larger indictment on suburban values hypocrisy that never generally materializes. At no point does Clooney give the racist response any depth, nuance, or even a deserving spotlight. The only thing we learn is that it’s wrong, which should already be obvious. The entire storyline feels so unfairly attached to another unrelated movie. This family’s story is worth telling right rather than just having something else to cut back to.
Then there’s the larger satire on suburbia itself and its reported family values philosophy. Just because bad people exist and bad things happen in a “nice” community does not mean your satirical work is done. You’re just supplying air quotes to your location. This is the most facile form of irony, lazily slapping together something vulgar against an idyllic setting of morality. That’s why I had no interest in The Little Hours, a comedy that looked to be built around one sole joke, unexpectedly offensive nuns (“Oh ho, that pious person used profanity, and that will never not be funny”). Suburbicon is a story that could have existed in any setting, which further devalues any attempt at legitimate social satire. This isn’t about The Way We Live Now or Even Then.
If you look closely you can see the bones of a Coen brothers’ story here, the only movie of the three that could have worked for Suburbicon. An insurance fraud scam that involves murder and complications is a juicy start for a thriller with some dark comedy edges. This aspect of the movie is the most compelling because it’s obvious that the most attention has been paid to it. Also, there are reversals and unexpected turns that keep the story twisting and turning while accessible. However, the impact of the story is limited by the fact that none of the characters are generally likeable or that interesting. You won’t really feel anxiety over whether or not these people get away with their scheme, which deflates the film’s acceleration of tension despite the best efforts of Alexadre Desplat to replicate an ominous Carter Burwell, a.k.a. “Coen brother,” score. If you don’t care about the characters then they better get into some crazy escalating collateral damage. For a while, it feels like Clooney and Suburbicon understand this principle and begin to ratchet up a body count, though oddly it’s far too fast. Oscar Isaac (The Force Awakens) turns up as a nosy insurance investigation and is taken care of only in his second appearance. The film doesn’t take the time to force the characters to luxuriate in the unease. It just goes straight for the sudden violence, and after awhile it becomes pat and expected.
This is Clooney’s weakest directorial effort yet. He’s clearly working from the visual framework of the Coen brothers’ classics, using the cookie-cutter production design of colorful suburbia for intended kitschy menace. Even some of the camera angles feel like something lifted from the Coen brothers. Alas, Clooney is not the Coens. He is a director capable of great things depending upon the subject matter, but this movie is a misfire from the start. Clooney cannot decide what the tone is supposed to be, so different actors seem to be operating in their own separate, competing movies. Damon (The Martian) is at either turn hapless or malevolent. I never knew what his read on his character was supposed to be. Moore (Kingsmen: The Golden Circle) is so over-the-top as a distressed housewife that you think she might start bouncing off the walls. It’s only Isaac that feels like he finds the sweet spot of what Clooney must have been going for, and thus it’s even more disappointing about his character’s limited screen time.
Messy, tone deaf, and lacking greater commentary, Suburbicon is a fatally flawed, overbearing dark comedy that has things on its mind and no clear idea about how best to articulate them. It feels like dissonant movies badly stitched together. The overall execution is lazy and relies upon the simplest form of irony to substitute as subversive suburban satire. The tone veers too wildly and the actors are desperate for some better sense of grounding. The characters are pretty flat and poorly developed. It’s an altogether mess that has a few inspired moments and a whole lot more uninspired. The victimized black family deserves to have their own movie and not be the backdrop of somebody else’s broad comedy. The racism is far too real to mesh with the comic goofiness of the rest of the criminal shenanigans. Clooney needed to settle on the movie he wanted to tell. I doubt the final version of Suburbicon that I saw is close to the Coen’s original screenplay. There may have been a good reason that they originally shelved it. Clooney shows that replicating the Coen look and style can be a fool’s errand even by an otherwise talented director. This is the worst Coen brother movie and it’s not even theirs.
Nate’s Grade: C-
Posted on October 28, 2017, in 2017 Movies and tagged coen brothers, dark comedy, george clooney, julianne moore, matt damon, oscar isaac, period film, satire, thriller. Bookmark the permalink. 1 Comment.