Gary Basaraba

This film feels kind of like what you'd expect from a collision between George Clooney and the Coen brothers: a comical noir thriller with a hefty dose of social commentary. Essentially two films mashed together, it paints a clever portrait of America in the 1950s with repressed rage, racial unrest and deep-seated greed. But the film's most powerful angle is its story of a young boy's rather nightmarish coming of age.

It's set in 1959 middle America, where Suburbicon is the town of the future, an idyllic place to raise a family. Then the Meyers family moves in, the first black family, and the community blames them when the Lodges - dad Gardner (Matt Damon), mom Rose (Julianne Moore), son Nicky (Noah Jupe) and aunt Maggie (also Moore) - are violently attacked. But an insurance inspector (Oscar Isaac) suspects that Gardner knows more about his attackers (Glenn Fleshler and Alex Hassell) than he's letting on. And Nicky knows he does. So as the neighbourhood descends into chaos to protest the Meyers' presence, Nicky quietly befriends their son Andy (Tony Espinosa).

Clooney directs this in a colourful 1950s style, with jaunty music by Alexandre Desplat and vivid production design by James Bissell. This is a community that looks perfect on the surface, but more than a little rotten underneath. And the script lures the audience in with some clever twists and turns that shift perspectives and tones, playing with the way these people are interconnected. Much of this is observed through Nicky's eyes, and he sees everything even if he can't explain why something is happening. All of this builds to a properly intense final act that's laced with wicked humour to gleefully keep the audience off balance. So even as it turns increasingly violent, the suspense and irony keep us entertained.

Continue reading: Suburbicon Review