Suburbicon

Following the example of Preston Sturges’s later work, Clooney attempts to reconcile two seemingly incompatible positions. He interweaves a very slowly escalating, darkly humorous (if you can laugh at the fact that someone drank coffee laced with lye), Coen-esque thriller about a crime that has gone awry (because the characters are mostly incompetent idiots) with a serious critique of racial intolerance. An African-American family terrorised by their white neighbours is rather left in the background of the narrative (we only know their last name and we almost never hear them speak), which seems to be the point of the film. The members of the majority are frustrated because of the problems they have brought on themselves (which overshadow the more serious problems of society as a whole) and are looking for someone to take their anger out on. Minorities are the first to be targeted. However, the film is quite clumsy in establishing causality between the two types of violence and turns to it relatively late (the closing dialogue does a lot to salvage the situation at the last moment). Furthermore, when we don’t yet know the characters’ true intentions at the beginning, we are led to sympathise with the same protagonists whom we will later despise, which in retrospect strikes me as mere screenwriting trickery that does not in any way help to convey the central idea. The choice of a child’s perspective also comes across as a half-baked idea that is not employed very consistently. Particularly the scenes from Nicky’s perspective heighten the feeling of danger, so that we vicariously experience what a black family goes through. I appreciate what Clooney is trying to say about the mood in today’s America (and not only there), as well as the fact that he didn’t choose the easiest path, but the result is noteworthy particularly for why and how it doesn’t work. 65% (2017-11-08)

Who expected something more than just a standard Coen-esque film will probably be disappointed. As a big fan of Coen-style crime thrillers with a bitter taste, I was completely satisfied. Since I have watched many Coen films, some twists and techniques in the story were predictable for me, but I don't see it as a huge disadvantage. I simply enjoy this type of movies and had a great time watching this one. In my opinion, the whole film was somewhat stolen by Oscar Isaac himself, and even though he appears only briefly, both scenes with him are the highlight of the entire film. In the end, I'm glad that this forgotten 80s script by the Coen brothers didn't end up in the dustbin of history and received its adaptation. (2017-11-02)

George Clooney had a Coen script and he wanted to make a Coen film, yet somehow it just doesn't feel right, like he doesn't have the right guts, like he just wants to imitate. That seems like a shame to me. The setting is great, and the racist insert is excellent, but the main story just couldn't hold my attention. (2018-02-13)

Clooney's Hitchcockian take on the Coens, even down to the music by Bernard Herrmann... I mean, Alexandre Desplat. I knew absolutely nothing about the plot and thoroughly enjoyed all its twists and turns and surprising moments, waiting to see what would come of it all in the end. It turned out to be a great film. Definitely less comedic than I expected, but great. (2020-06-07)

It's a shame that the creators didn't manage to liven up the film. Otherwise, it had a great retro vibe, typical Coenesque violence and black humor. They could have done much better. I got a bit bored in places and the incorporation of the black family's problems into the story seemed completely unnecessary. Apart from that, I was quite satisfied, and I had a decent laugh. (2018-04-15)