When secretive new neighbors move in next door, suburbanite Ray Peterson and his friends let their paranoia get the best of them as they start to suspect the newcomers of evildoings and commence an investigation. But it's hardly how Ray, who much prefers drinking beer, reading his newspaper and watching a ball game on the tube expected to spend his vacation.
Tom Hanks Bruce Dern Carrie Fisher Rick Ducommun Wendy Schaal Corey Feldman Courtney Gains Henry Gibson Gale Gordon Dick Miller Robert Picardo Theodore Gottlieb Franklyn Ajaye Cory Danziger Rance Howard Heather Haase Nicky Katt Billy Stevenson Gary Hays Kevin Gage Dana Olsen Brenda Benner Patrika Darbo Sonny Carl Davis Moosie Drier Leigh French Archie Hahn Billy Jayne Phyllis Katz Show All…
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One of my favorite films of all time.
Art's character is bar none my favorite comic performance.
The ending "it's us" monologue is historic.
The soundtrack, the neighborliness, it's all just so fun and wonderful.
Somewhere around the early 90s, Tom Hanks became really boring.
He stopped making comedies and started making 'serious' films. As such, we missed out on him making more films like this and more films where we have to watch him talk to a sodding volleyball for the best part of 2 hours or doing a bad Alec Guinness impression.
Okay, that is been gravely unfair to Hanks and of course he HAS made or been a part of some great films in the 23 years since the release of The 'Burbs. But I can't be the only one who STILL misses the days when you saw his name on a film poster or box and you knew you were in…
dante's slapstick Rear Window. understand the objection to the ending—which on its surface undermines hanks' righteous realization that suburban conformity is much darker and weirder than any strange outsider—but even if the voyeur element isn't as strong the same is true here of hitchcock's version imo: the fact that our hero ends up being right about his creepy neighbors doesn't really matter because whether its true or not the expression here of a truly unhinged desire for murderous cannibals to have moved in next door, under the presumption of heroically restoring "normalcy", is deeply revealing of the perverse psychology and hysteria of suburban america. feels particularly apt in the age of QAnon.
![nathaxnne [hiatus]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?k=6516bf4433){kind=small}
I needed this.
On a normal Tuesday. Except I don't work til late. After yet another night put down by the poisonous thoughtloops of my barely contained obsessive-compulsive childish illogical but damn it still consuming fear -- there's nothing like the sunlight on a quiet Tuesday. Work is still far away. Everything just slows down. I can feel the chasm of my fear vibrating away on the edges of the day. But it's easier to keep it there. On the edge.
Because there's something to the sunlight streaming in the window. Something to a marginally clean house and fresh, clean, cold cans of soda. So, to keep the fear out and the hopeful sunlight vibe in, I flip this on.…
“Nobody knocks off an old man in my neighborhood and gets away with it.” 🦴
It’s about time I watched the darkly comedic, wildly fun and unforgettably quotable cult classic that is The ‘Burbs!
The actual cinematic depiction of it’s a small town everyone knows everything about everyone in all of its suburban paranoid glory. Convinced their new neighbors are in a satanic cult, Ray and Art are set on proving their theory right and it helps when another neighbor suddenly goes missing!
They sure don’t make movies like this anymore! From that Tom Hanks nightmare sequence to that quirky Jerry Goldsmith score (holy shit!) to Corey Feldman explaining to Tom Hanks about the film The Sentinel which would put anyone in the mood for some gates of hell goodness.
I’d say The ‘Burbs feels like an extended episode of The Twilight Zone, the only thing missing was Rob Serling’s introduction. Loved this and all of its homey antics.
“The ‘Burbs” is the film that bears perhaps the most disturbing monster born from the mind of Joe Dante: the idle upper middle class.
The Tom Hanks-starring film deigns to elicit no sympathy for its leading characters; boring suburbanites who occupy dull lives by imposing their aimless meddling on one another. Desperate for meaning other than keeping their own lawns mowed, the subhuman suburbanites concoct a conspiracy that some of their neighbors… are satanic cultists.
“‘Burbs” belongs to that bucolic era in late 80s and early 90s media, where an excess of financial stability led America to dream fantastical dreams of the exotically maudlin and macabre. This yearning for dark whimsy produced works ranging from “Edward Scissorhands” and “Cable Guy”…
not perfect or even great but a childhood fav & rosetta stone to all the shit im still thinking abt constantly: average amerikkkan vidiot who just wants to mind his own biz encouraged by "neighbors" (=aggro neo-con merc named rumsfeld & a gluttonous, insatiable consumer) to gangstalk a family for diverging from the values of their staged backlot suburbia, self-directed investigation vs complacency, trusting experts/newsmedia vs intuition/values/bias (fisher & feldman's history - what is xenophobia?), "satanic panic" as literal cul-de-sac/dead-end & a hanks-imposed ending that validates traditional authority & self-destructive paranoia as status-quo
from the writer of letterboxd.com/pd187/film/inspector-gadget/
Mark Rumsfield: Klopek... what is that, Slavic?
Reuben: NO.
Mark Rumsfield: 'Bout a nine on the tension scale, Reub.
“I want to kill everyone. Satan is good. Satan is our pal”
Another one of those movies I’d been weirdly keen to watch for ages, The ‘Burbs is a fun, relatively light comedy with some decent laughs and a share of memorable moments. The story is mostly brought to life by Tom Hanks’ expectedly energetic lead role, making use of the bizarre satanic premise to give his character a very slapstick edge that really elevates the screenplay; as well as the talents of the supporting cast including Bruce Dern and Corey Feldman that help make the film feel lively and cartoonish. It’s not as tonally dark as the synopsis would make it seem but it’s still entertaining enough for what it’s worth, definitely standing out as a more unique option among 80s comedies.
This was a staple movie in my childhood and now it’s on Shudder so this is only the first of many rewatches. I love this so much. Tom Hanks gives one of his greatest 80’s performances and Carrie Fisher is divine in her floral print halterneck dress and flawless comic timing.
Also, when Tom explains to everyone that all he wants to do on his time off is lay around the house in his pajamas, let me tell you that I relate to that shit on the deepest level.
Nobody knocks off an old man in my neighborhood and gets away with it.
Tom’s back in the ‘hood and this time he’s done being neighborly!
Jumping back into his everyman comedy mode, Hanks has some great Hanks moments, especially towards the end, but this time he’s surrounded by a ensemble cast that actually rises to his level. Many of his earlier comedies rested squarely on his shoulders and if Hanks had been missing the movie would have dropped several ratings. Perhaps, for the first time though, as good as he is, this doesn’t feel like a Hanks dependent movie, but rather a movie where Hanks is a solid supporting member. Everybody is pitch perfect for…
