*. This movie has to rate way up there on the “what were they thinking?” index.
*. It has a lot, really almost everything, going for it. The cast is solid, with Matt Damon and Julianne Moore backed up by a collection of wonderful character. Noah Jupe turns in a great child performance in a lead part with almost no lines. The production and design are nearly flawless (I’d only mark them down for a really lousy hospital set in the early going). The photography is beautiful. George Clooney does a professional turn directing.
*. But then there’s the script. Or really two scripts. It doesn’t just feel like two stories unhappily stitched together, it is two scripts unhappily stitched together. One was a typical Coen Brothers black-comedy crime thriller which had been sitting around for twenty years, the other a historical drama about a black family that faced racism in the Levittown community they moved into in the 1950s.
*. What do these two stories have to do with each other? Nothing. Even thematically or tonally: nothing. Critics were mystified. Not only were the stories unrelated, they were scarcely connected in terms of the plot. They didn’t even belong in the same movie. So: what were they thinking?
*. I can’t answer that question. But in terms of pacing and structure it throws the entire film out of whack.
*. Sticking with the main (white family) plot, what we get is the usual Coen Brothers tale of mistakes leading to misunderstandings leading to bloody ironies. Matt Damon plays William Macy playing Gardner Lodge, who is involved in a sordid (and wildly improbable) scheme to get rid of his wife and run away with her sister. Of course things go wrong, since the scheme is so complicated it has no chance of success. The usual violent chaos results.
*. Even by itself I can’t say this would have been terribly interesting, especially given the slow first act. Also, the idea that the suburban America of the Leave It to Beaver era was actually a facade (see what horrors lurk in the basement!), with Suburbicon itself being a Potemkin village, is such a cliché that it should have been retired twenty or thirty years ago.
*. No point in saying anything more. I was bored and mystified. Perhaps with so much attention to detail and the actual craft of filmmaking nobody noticed or was able to take a step back and realize that the project as a whole was so incoherent. That’s the best I can do in coming up with an explanation.