White picket fences and mailmen who know your name, this is 1950s suburbia, complete with cookies and milk. It’s also complete with the dark and sinister undertones we’ve come to expect from every contemporary film set in that period. And this is a Coen Brothers production after all (Fargo, No Country for Old Men), with the socially conscious George Clooney (Good Night, and Good Luck, The Ides of March) in the director’s chair. So it isn’t long until big cracks appear in the pastel façade, blood gets spattered on horn-rimmed glasses and some basic social justice messages get smashed home in what feels like a dated and somewhat pointless farce.
Read the full review by Rochelle Siemienowicz at SBS Movies here.
It's better in the dark. Obviously we think so, or we wouldn't spend half our lives in front of the big screen, and then the other half writing about it.
*Anthony Morris is a freelance film writer and editor. He was home entertainment editor at The Big Issue from 2005-2018, a magazine he first began writing for in 1997. He has been the film editor for Forte magazine since 1996, and he is a regular contributor to media outlets including Empire, Junkee, Broadsheet, SBS Online, Vice, and the Wheeler Centre. He is a co-author of the novel 'The Hot Guy' (Echo) and tweets at @morrbeat *****Rochelle Siemienowicz is a film critic, editor and columnist with a special interest in Australian film. Her work has been published widely, including in The Age, Kill Your Darlings, ScreenHub, Lumina and at SBS Movies. She is a presenter at Ozflix, a contributing editor at Metro magazine and co-host of podcast Hell is for Hyphenates. She has also published a memoir, 'Fallen' (Affirm Press). She is on Twitter @Milan2Pinsk.