It's good enough? The tone inconsistencies were so off-putting and jarring at times I felt like I was watching a parody. The story/characters itself felt very Coen Brothers, but the directing itself missed the mark. The civil rights side story didn't really make much sense.
Pellicola che distrugge il sogno americano degli anni '50, portando a galla tutti i peggiori istinti umani. Molto efficace la guerra del quartiere razzista contro la famiglia di colore, pur apparendo un po' stereotipata. Nel complesso il tutto però sa di già visto e non riesce a sfruttare al 100% i temi trattati.
It’s clear, the way the film’s black family exists solely to show the intolerable cruelty of the white cookie-cutter suburbanites. Even then, ‘Suburbicon’ can’t help but gesture towards a few good wasps looking out for their neighbors of color. This is all tangential to a different, weirdly insular film of its own, one with twin Julianne Moores (!) and a mason jar snake that writhes as if full of troubled knowledge.
Despite the fact that I saw the first 30 mins twice, I really enjoyed this part and I could see it again. Very weird and super interesting but that all suddenly collapsed when the main plot start revealing itself. Just a scheme with some assurence money, some extortion as well. Pretty lame in the end. Clooney as a director did a good job but he overtried to copy the Coen Brothers. But i think he intented that 5.5/10
Not what was expected. While it was a little bit of a mess that meandered from time to time, the art direction and performances were very entertaining. The racially-charged storyline was shoehorned in there so hard it hurt, and the bends in the "mystery" were predictable. But nevertheless it was entertaining, just non-essential.
The Coen Brothers' script has a fair amount of pep to it but the overly mechanical plot vectors let the film down. The jaunt around 50s stereotypes is also a bit familiar. The subplot, which would make a decent film in its own right, is made to carry too much water for far too light a pay-off. A messy, uneven film.
occasionally funny in a classic Cohenesque way, but with none of the subtlety and upturned expectations of a vintage Cohens script (which, strictly speaking, this is not). Beyond the slapstick it is nothing but a lazy, moralistic 'critique' of post-war American triumphalism with a tired, hagiographical nod to the civil rights movement.
This film could have worked as a neo-noir, dark comedy, or social commentary. But, Clooney just can't make any of it work. As a neo-noir, it's surprisingly dull. As a comedy, it seems confused about where the humor should be. As a commentary, it doesn't offer any unique perspectives and the racial subplot has no real payoff. It may have slivers of cleverness, but it's mostly a disappointing misfire.
Matt Damon this time chimes in for his friend Clooney - A script from the Coens' leftover vault on typical small-town grimy shenanigans frankensteined with Serious Historical Racial Subtext... for no discernible purpose, mixing in these two nerve centers like water and olive oil. A very, very awkward film that is only saved by the dark Coenish murder mystery and Oscar Isaac. Oscar Isaac is great.