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Mack (Jodie Moore) has just hired contract killer Rick (Frank Mosley)
to get rid of his ex-wife, and has then gotten roaringly drunk, as he's
not the guy usually hiring contract killers. Stumbling home drunkenly,
Mack is run over by a car. John (Joe Nemmers), the driver of the car, is
your average family man who has just sat behind the wheel for too long,
and falling asleep behind the wheel, however momentarily, he didn't see
Mack coming ... and seeing he has just killed a man and will probably be
convicted for it, he just takes Mack's body home with him with the
intention of burying him in his own backyard to cover everything up. Thing
is, Mack isn't really dead, and he comes to in John's garage. He's too
hurt to do anything though, and John's refusal to drive him to a hospital
worries him quite a bit, also the fact that John threatens to kill him
time and again (but never has the nerves to go through with him). But
before long, the two men form a certain bond, get to know each other a bit
better, and as each sees a mirror image of himself in the other (mirror as
in everything's reversed I should add), it becomes less and less likely
that John will kill Mack. And at one point, Mack even calls Rick to
terminate the contract on his ex wife ... and that was a mistake! You
see, Rick isn't really a contract killer but a cop who has lured Mack into
a trap - but he's a dirty cop so he has only lured him into this trap to
blackmail him together with his partner Bob (Max Hartman) ... but now the
contract is terminated, Rick's a bit furious regarding getting not quite
as much out of it as expected. But when he finds out about this new
"situation" between Mack and John, a whole new set of
possibilities seems to open up ... Suburbanite is a very
clever little thriller with spots of black comedy, that works on a story
level because it doesn't try to be too clever and outsmart itself, or by
pushing its punchlines too far. Of course, one or the other viewer might
be reminded of Stuart Gordon's under-appreciated Stuck,
but the similarities are superficial at best, apart from a car accident, a
garage and a (supposedly) dying man, the films have nothing in common and
differ vastly in tone (despite both leaning towards the macabre). On a
directorial level, director Lohrenz wisely avoids spectacle and gives his
characters enough space to unfold, which is of course helped by a bunch of
spot-on performances. Now it must be noted here that this film was made
on a micro-budget, so don't expect no fireworks (not that the film needed
any), but every Dollar seems to have been extremely well-spent, making
this into a totally enjoyable movie!
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