[9] It stars Matt Damon, Julianne Moore, Noah Jupe, and Oscar Isaac, and follows a mild-mannered father in 1959 who must face his demons after a home invasion, all while a black family moves into the all-white neighborhood.

One night when Rose's identical twin sister, Margaret, is staying over, two robbers, Sloan and Louis, break into his house, tie the whole family up, and knock them out with chloroform.

With tensions mounting between the residents of Suburbicon and their new African-American neighbors the Mayers, charismatic insurance agent Bud Cooper arrives on the Lodge's doorstep one day when Gardner is not home and begins to question Margaret.

Margaret attempts to kill Nicky with a poisoned sandwich and milk after she catches him calling his Uncle Mitch for help, but he refuses to leave his room.

Nicky calmly goes outside to play ball with Andy, the young son of the Mayer family whom he has befriended, while his parents and a few members of the community clean up the mess left in the wake of the riot.

[16] The film was eventually made ten years later, combining two previously unrelated scripts,[11] one the crime film by the Coens, and the other a historical drama by Clooney and Grant Heslov based on the real-life story of the Myers family, the only black family in all-white Levittown, Pennsylvania, who faced racially-charged harassment and violence from other residents.

[10] On December 8, 2015, Matt Damon, Julianne Moore, and Josh Brolin joined the cast;[17] Oscar Isaac and Woody Harrelson later signed on, as well.

[25] Suburbicon was released on Digital HD on January 23, 2018, and on Blu-ray and DVD on February 6, by Paramount Home Entertainment in the United States.

[6] In the United States and Canada, Suburbicon was released alongside Thank You for Your Service and Jigsaw, and was projected to gross around $8 million from 2,046 theaters in its opening weekend.

[28] David Rooney of The Hollywood Reporter wrote: "Suburbicon is just too obvious in its satirical depiction of the dubious morality and social inequality behind the squeaky-clean façade of postwar American life, though it's watchable enough, and a distinct improvement for Clooney on his last directorial outing.