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SUBURBICON

posted 8 Jan 2018, 04:40 by Scene Alba Magazine

Rating: 3.5 out of 5
Director: George Clooney
Starring: Matt Damon, Julianne Moore, Noah Jupe, Oscar Isaac.
The best-slayed plans of mice and men
In the opening minutes of the dark satirical drama Suburbicon, we are quickly briefed on what that ungainly title really means.
Suburbicon is the commercial brand name for a tight-knit community poised to unravel across the length of the movie.

If you must see one film this year where Matt Damon is being harassed for riding a dinky little bike, make it Suburbicon, OK?Source:Supplied
It is seemingly just another one of those identical housing estates that became the norm all over the United States in the 1950s.
As that decade draws to a close, we are invited into the perfect home of the Lodge Family, where we will be poised to witness what should be the perfect crime.
Timid husband Gardner (Matt Damon) wants his wheelchair-bound wife Margaret (Julianne Moore) out of the picture. Mainly so he can replace her with her sketchy twin sister Nancy (Moore again).

Julianne Moore, is playing twins in Suburbicon. A good one and a bad one but Matt Damon is simply a bad one.
A hefty insurance payout once the deed is done also holds some appeal for Gardner. Business has not been good at work, and it looks as if he’s already spent a lot of money he doesn’t really have.
While the rest of the Lodge’s all-white neighbourhood goes into a rage (and then a rampage) over an African-American family discovered to be living in their midst, Gardnert decides the time is right to make his move.
Almost every part of the plan is primed to fall into place. Almost. Just one mystery variable remains: how much does the unhappy couple’s only child, a small boy named Nicky (Noah Jupe), know about what is really going on?
This is a standout scene in Suburbicon, where the dodgy dad cross-examines his poor little kid to ascertain whether he knows too much already.
Directed by George Clooney from a script penned by the Coen Brothers (Fargo, No Country for Old Men), this twisted tale of domestic evil carries a conniving comic edge which will divide some viewers.
If you can get where it is coming from - but can’t pick where it might be heading - then this shrewd set of jabs at American pride and its many prejudices has done its job mighty well.
Clooney has proven himself over time to be a fine handler of his fellow actors from behind the camera, and he really does coax some interesting and unpredictable performances from a quality cast.
However, as great as Damon and Moore are here, their combined thunder is comprehensively stolen by a stunning short turn from Oscar Isaac as an interested party with an educated hunch Gardner is up to no good.



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