Suburbicon

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Matt Damon's Criminal Neighbor Bought Him Groceries: Exclusive Interview

2:23

Suburbicon: International Trailer 1

2:12

Suburbicon: 'Critics' - Trailer

4:54

Suburbicon: B-Roll 2

4:20

Suburbicon: B-Roll 1

2:24

Suburbicon: Trailer 1

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Cast

Matt Damon
as Gardner Lodge, Gardner

Julianne Moore
as Margaret, Margaret/Rose

Noah Jupe
as Nicky

Oscar Isaac
as Roger

Glenn Fleshler
as Ira

Alex Hassell
as Louis

Gary Basaraba
as Uncle Mitch

Jack Conley
as Hightower

Karimah Westbrook
as Mrs. Meyer

Tony Espinosa
as Andy

Sonia Gascon
as Pregnant Lady

Becca Beton
as New York Mom

Inbal Amirav
as Church Choir Singer

Michael D. Cohen
as Stretch

Tim Neff
as Protestor #4

Megan Ferguson
as June

Steve Monroe
as Henry the Mailman

Marah Fairclough
as Shopping Woman

Dash Williams
as Walters

Jessee Foudray
as Clinic Nurse/Neighbor

Carter Hastings
as Peterson

Ellen Crawford
as Eileen

Emily Goss
as Clinic Mom

Diane Dehn
as Virginia

Steven M. Porter
as Newell

Mark Leslie Ford
as Bill Thackery

Paul Black
as Racist Neighbor #1

Erik Aude
as Riot Cop

Douglas Rouillard
as Angry Neighbor

Pamela Dunlap
as Mrs. Krup

Brady Allen
as DeLuca

Hope Banks
as Mrs. Pendelton

Jeffrey Scott Basham
as Neighbor #1

Tim Hooper
as Policeman

Jean Nasser
as Baseball Player

Sean Ormond
as Neighbor

Samuel Marcus
as Young Hood/Town Hall Teen

Dana Rosendorff
as Neighbor

Alessandro Delpiano
as Townhome Kid

Leith M. Burke
as Mr. Meyers

Matthew Broadley
as Town Hall Teen

George Todd McLachlan

Kristi Lynn Grace
as Neighbor

Tomas Johansson
as Police Sergeant

Stephen Brown
as Bill

Valeriya Matveeva
as Shopper

Katie Michels
as Ohio Mom

Jack Fisher
as Collins

Slim Khezri
as Police Officer

Lauren Mendoza
as P & S Secretary

Andrew Sykes
as Bobby

Nancy Daly
as Linda the Secretary

Lauren Burns
as Mitch's Secretary

Andrew Boyle
as Clinic Doctor

Laura Penn
as Hospital Nurse

Nichole Eberle
as Neighbor/Protester

Corey Allen Kotler
as Bomber

Emmie Ray
as Neighbor

Mikey Effie
as Park Picnic Kid

Dean England
as Funeral Mourner

Weston Mueller
as Perp #1

Jonathan Matthew Wilson
as Little League Baseball Photo Double

Jamie Love
as Fireman

Taylor Ragan
as Mississippi Mom

Laura Kranz
as Grocery Shopper

Landon Gordon
as Kid on Bike

Ethan Crenshaw
as Town Hall Protestor

Eric Hinwood
as Neighbour/Protestor

Matt Laydon
as Newscaster

Brett Newton
as Racist Neighbor

Benjamin Franczuszki
as Reporter

Andrew Stiko
as Police Officer

Robert Pierce
as Ed Pappas

Steve Shaw
as Doctor Jennings

Joseph Sanfelippo
as Announcer

Paul Pikus
as Town Hall Welcomer

Emily Merlin
as Neighbor

Max Hoffmann
as Neighbor/Protestor

Jon Eiswerth
as Clinic Dad

Josh Meyer
as Freddy

Megan Moran
as Funeral Mourner

Jack Buckley
as Neighbor/Protester

Don Baldaramos
as Reverend Jones

Logan Swearingen
as Clinic Boy

Shannen Elise Wilson
as Crossing School Girl

Alexandra Goodman
as Margaret's Neighbor

Brey Chanadet
as Baseball Picnic Boy

Tim Beaufoy
as Protestor

Frank Ferruccio
as Detective La Russo

Cooper Harman
as Baseball Player

Josh Opper
as Neighbor

Jule Johnson
as Neighbor/Protestor

Paul Riley Fox
as Soldier

Nathan D. Snyder
as P & S Employee

Riley Warmoth
as Town Hall Protestor

Don Michael Perez
as Thumper

Brian Gilbert
as Mover #2

Jade Willey
as Mississippi Dad

Nick Bishop
as Neighbor/Protestor

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News & Interviews for Suburbicon

Critic Reviews for Suburbicon

Audience Reviews for Suburbicon

• Dec 04, 2017

  Suburbicon has absolutely no idea what kind of film it wants to be. Is it a satirical comedy? A dark thriller? A commentary on racial injustice? Well, it is all of these, but utterly fails to capitalize on the themes it presents, often becoming a kind of rough draft for something more ambitious. The drab performances, bombastic score, inconsistent tone and muddled direction, make it simply a disappointment at what could have been a meaningful piece of work. George Clooney has some good ideas but needs to flesh them out more. Suburbicon is too thin and hollow to truly resonate. Rate: 41
  Bradley J Super Reviewer
• Nov 25, 2017

  Suburbicon features a stellar concept that could have steered the film towards being a classic if it had taken a different direction - but unfortunately, it lacks focus.
  

  Sean T Super Reviewer
• Oct 28, 2017

  Suburbicon began as a script written by Joel and Ethan Coen back in the 1980s. They shelved it and went on to other stories and justifiable acclaim. George Clooney came across the old screenplay and rewrote it with his longtime partner Grant Heslov (Monuments Men). Clooney's version of suburban strife is a wash and also easily the worst effort of Clooney's Oscar-nominated directing career. I wish Suburbicon would make up its mind on which of the three different movies it wants to tell. This is possible proof that Coen brother stories should best be left chiefly to the Coens. Set amidst the 1950s, an African-American family moves in to an all-white suburban neighborhood and instantly changes the climate. The Mayers have upset the other middle-class white neighbors who want them gone, and they don't mind subjecting this black family to all forms of harassment to get the job done. Meanwhile, Gardener (Matt Damon) and his wife (Julianne Moore), her twin sister (also Moore), and his son, are threatened by loan shark goons. The family is never the same but there's more than meets the eye to this domestic tragedy, and the costly cover-up ensnares everyone in danger. This is a movie that feels badly stitched together with competing ideas and storylines. Two of these competing movies are so haphazard and lazily explored that it feels like Clooney and company tacked them on for some sort of extra failed social commentary about The Way We Live Now. The shame of it is that either of these vestigial storylines could have existed as their own compelling movie. The integration of the suburbs with a black family brings about an intense reaction. Fellow suburbanites harass the family at all hours of the day, destroy personal property, and do everything to let them know they are unwelcome in this "good-natured" community. The reactions are so virulent and disgusting, and all for a family just existing on the block, shopping at the same grocery store, thinking they too were eligible for the American Dream. There's a movie there in its own right because, as evidenced in Suburbicon, it's just background for a larger indictment on suburban values hypocrisy that never generally materializes. At no point does Clooney give the racist response any depth, nuance, or even a deserving spotlight. The only thing we learn is that it's wrong, which should already be obvious. The entire storyline feels so unfairly attached to another unrelated movie. This family's story is worth telling right rather than just having something else to cut back to. Then there's the larger satire on suburbia itself and its reported family values philosophy. Just because bad people exist and bad things happen in a "nice" community does not mean your satirical work is done. You're just supplying air quotes to your location. This is the most facile form of irony, lazily slapping together something vulgar against an idyllic setting of morality. That's why I had no interest in The Little Hours, a comedy that looked to be built around one sole joke, unexpectedly offensive nuns ("Oh ho, that pious person used profanity, and that will never not be funny"). Suburbicon is a story that could have existed in any setting, which further devalues any attempt at legitimate social satire. This isn't about The Way We Live Now or Even Then. If you look closely you can see the bones of a Coen brothers' story here, the only movie of the three that could have worked for Suburbicon. An insurance fraud scam that involves murder and complications is a juicy start for a thriller with some dark comedy edges. This aspect of the movie is the most compelling because it's obvious that the most attention has been paid to it. Also, there are reversals and unexpected turns that keep the story twisting and turning while accessible. However, the impact of the story is limited by the fact that none of the characters are generally likeable or that interesting. You won't really feel anxiety over whether or not these people get away with their scheme, which deflates the film's acceleration of tension despite the best efforts of Alexadre Desplat to replicate an ominous Carter Burwell, a.k.a. "Coen brother," score. If you don't care about the characters then they better get into some crazy escalating collateral damage. For a while, it feels like Clooney and Suburbicon understand this principle and begin to ratchet up a body count, though oddly it's far too fast. Oscar Isaac (The Force Awakens) turns up as a nosy insurance investigation and is taken care of only in his second appearance. The film doesn't take the time to force the characters to luxuriate in the unease. It just goes straight for the sudden violence, and after awhile it becomes pat and expected. This is Clooney's weakest directorial effort yet. He's clearly working from the visual framework of the Coen brothers' classics, using the cookie-cutter production design of colorful suburbia for intended kitschy menace. Even some of the camera angles feel like something lifted from the Coen brothers. Alas, Clooney is not the Coens. He is a director capable of great things depending upon the subject matter, but this movie is a misfire from the start. Clooney cannot decide what the tone is supposed to be, so different actors seem to be operating in their own separate, competing movies. Damon (The Martian) is at either turn hapless or malevolent. I never knew what his read on his character was supposed to be. Moore (Kingsmen: The Golden Circle) is so over-the-top as a distressed housewife that you think she might start bouncing off the walls. It's only Isaac that feels like he finds the sweet spot of what Clooney must have been going for, and thus it's even more disappointing about his character's limited screen time. Messy, tone deaf, and lacking greater commentary, Suburbicon is a fatally flawed, overbearing dark comedy that has things on its mind and no clear idea about how best to articulate them. It feels like dissonant movies badly stitched together. The overall execution is lazy and relies upon the simplest form of irony to substitute as subversive suburban satire. The tone veers too wildly and the actors are desperate for some better sense of grounding. The characters are pretty flat and poorly developed. It's an altogether mess that has a few inspired moments and a whole lot more uninspired. The victimized black family deserves to have their own movie and not be the backdrop of somebody else's broad comedy. The racism is far too real to mesh with the comic goofiness of the rest of the criminal shenanigans. Clooney needed to settle on the movie he wanted to tell. I doubt the final version of Suburbicon that I saw is close to the Coen's original screenplay. There may have been a good reason that they originally shelved it. Clooney shows that replicating the Coen look and style can be a fool's errand even by an otherwise talented director. This is the worst Coen brother movie and it's not even theirs. Nate's Grade: C-
  Nate Z Super Reviewer
• Oct 26, 2017

  George Clooney attempts to go overboard of ideas without actually focusing on its core genre. This isn't the first time he has been in such failure though and this film is so far from becoming a true failure in any sign of form. I think, for a huge benefit, you should only watch just to see where I'm attempting to head off.
  EpicLadySponge t Super Reviewer

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