“I find my life is easier the lower I keep my expectations.” — Bill Watterson (cartoonist, Calvin and Hobbes
by Walter G. Tarrow
(Reviews of Suburbicon and Downsizing)
Both ** out of five stars and both available on video
Recently, two Matt Damon (Good Will Hunting, The Martian, Jason Bourne) vehicles, Suburbicon and Downsizing, were major disappointments. Not because Matt faltered in the lead, but because the filmmakers, the creative minds behind the projects, the writers and directors, delivered far below expectations.
So much of happiness depends upon expectations. Disappointment, by definition, is expectation not met. We expect things to be a certain way. We trust in the predictability of product. Contrary to the cautionary note of investment brokers, we always count on past performance as a predictor of future outcomes.
And I had such high expectations.
Behind Suburbicon, an intended dark comedy very unsteady and embarrassingly unsure of its social commentary, is director and writer George Clooney (Good Night, and Good Luck) and the pens of the Coen brothers (Fargo, No Country for Old Men). The Coens are among the top American filmmakers of the past 30 years. Their sinister humorous looks at good natured ordinary folk caught up in the buffoonery and dangerous machinations of criminals and evildoers are Americana at its most brilliant.
And behind Downsizing, a comic futuristic fantasy also awkwardly heavy handed in its big picture message delivery, is director and writer Alexander Payne (Election, Sideways, Nebraska) who has also captured the quirkiness of regular Americans driven to hilarious extremes by their frustrations with their situations.
I have loved most of everything produced by the Coen brothers and Payne. Even their weaker efforts met my entertainment expectations. So what happened here?
In general, in these modern market driven times, most succeed and excel when they identify, are true to, and deliver a clearly perceived and consistent “brand.” That brand may be as superficial, shallow and meaningless as a logo, but it leaves a strong stamped impression. One need look no further than our current political arena. Elections are won by those clearly branded as “winners.” Nothing more, nothing less.
Filmmakers are often referred to as “auteurs,” meaning they’ve developed a particular style, a certain perspective, of storytelling, of filmmaking. A Hitchcock is a Hitchcock is a Hitchcock.
In brief, both the Coens and Payne attempted to work outside their well established strengths, Payne more so, by developing situations first and foremost over characters.
Suburbicon posits Damon’s character as a closeted sociopathic businessman circa 1960 middle class America caught up in a shady business deal in the midst of an “ideal” neighborhood fighting racial integration. The absurdity of his disintegration elicits no empathy, let alone sympathy, from the viewer.
And Damon is seeking happiness in Downsizing by undergoing a process that shrinks him to miniature and allows him to join a tiny community that promises endless resources and riches because a single soda cracker can now feed a family of six. Again the absurdity of this “downsizing” conceit and his subsequent life lessons fail to impress.
Better off if you stick with what’s already proven and rewatch About Schmidt.
