“The Joneses” is a satirical comedy about a family who’s not really a family. They’re more like undercover marketing agents, disguised as the perfect American household. Their neighbor gradually catches on to their secrets and consequences ensue. The movie serves as a commentary on consumerism and the facade of the American Dream, making it a delightful and thought-provoking watch.
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Review
The Joneses: The Art of Deception in Suburban America
If you had to sell happiness, what would you do? That’s the challenge faced by a family of impostors in The Joneses, a satirical drama directed by Derrick Borte and written by Randy T. Dinzler. Like professional spies, the Joneses infiltrate an affluent community and use their charisma, style, and gadgets to persuade their neighbors to buy products they don’t need or want. But as they juggle their lies and desires, they also test the limits of their own identities and relationships. With a stellar cast led by Demi Moore and David Duchovny, The Joneses is a smart and entertaining commentary on consumerism, conformity, and communication in modern society.
The opening scene of The Joneses establishes the tone of the film as both playful and ominous. A moving truck unloads a pristine white furniture set into a luxurious house where four people greet each other with friendly but awkward smiles. We soon learn that these are not just any people: Steve (Duchovny) is the father, Kate (Moore) is the mother, Jenn (Amber Heard) is the daughter, and Mick (Ben Hollingsworth) is the son. They are not related by blood or even real names; they are hired agents for a marketing company that specializes in viral campaigns for high-end brands. Their mission is to pose as a family of early adopters who can create buzz for new products among their peers. They have fake IDs, backstory notes, scripts for scenarios like dinner parties or golf outings, and access to an array of gadgets such as GPS trackers or camera glasses that record everything they see.
At first glance, being a Jones seems like a dream job: they get paid to travel around the country (in fancy cars disguised as prototypes), stay in lavish houses stocked with gourmet food and wine, and wear designer clothes and accessories. They also get to have sex and do drugs, as long as it doesn’t interfere with their work. But as they settle into their new home in the suburb of Peachtree Grove, Georgia, they realize that their targets are not just gullible or greedy consumers; they are also their neighbors, colleagues, and friends. This creates a tension between their professional goals (to make sales) and their personal feelings (to connect with people). Steve becomes attracted to Jenn, who had moved from school to school due to her parents’ divorce; Kate feels neglected by her husband and seeks solace in expensive spas and shopping sprees; Mick struggles with his masculinity and his loyalty to the team.
The Joneses is both a comedy of manners and a drama of ethics. It mocks the superficiality of middle-class values such as status symbols, gossip, charity events, or sports fandom, while also showing how these values can mask deeper insecurities, fears, and desires. It exposes the manipulative tactics that advertisers use to create demand for products that are neither useful nor environmentally sustainable (such as lawn mowers that double as snow blowers or water filters that claim to produce “perfect” H2O). It questions the authenticity of interpersonal relationships that are based on appearances rather than honesty or vulnerability. And it challenges the notion that happiness can be bought or sold by anyone other than yourself.
The Joneses benefits from a strong cast that brings nuance and wit to their roles. Duchovny plays Steve as a charming but conflicted man who tries to balance his job with his conscience. Moore shines as Kate, a woman who tries to keep up with her image while hiding her pain. Heard portrays Jenn as a rebellious yet sensitive young woman who craves connection but distrusts authority. Hollingsworth makes Mick sympathetic despite his flaws and naïveté. Together they form a dysfunctional but alluring family that keeps us invested in their story.
The Joneses also benefits from a smart and stylish production design that captures the suburban idyll as both seductive and suffocating. The houses are spacious and tasteful, but also empty and interchangeable. The cars are sleek and powerful, but also impractical and wasteful. The clothes are flattering and fashionable, but also uncomfortable and revealing. The camera work by Yaron Orbach emphasizes the contrast between the artificial perfection of the exteriors (with their manicured lawns, awnings, fountains, and pools) and the messy reality of the interiors (with their cluttered rooms, dirty dishes, broken appliances, and fraying emotions). The music by Nick Urata underscores the mood of each scene with a mix of upbeat or melancholic instrumentals that evoke different genres such as jazz, funk, rock or pop.
The Joneses received mixed reviews from critics upon its release in 2009. Some praised it for its wit, charm, and relevance to contemporary issues; others criticized it for its shallow characters, contrived plot twists, and lack of originality. Its box office performance was modest as well, grossing only $3 million worldwide against a budget of $5 million. However, it has gained a cult following over time thanks to its availability on streaming platforms like Netflix or Amazon Prime. It has also inspired remakes in other countries such as India (as Aisha) or South Korea (as Like for Likes). Its legacy lies not only in its entertainment value but also in its social commentary.
The Joneses is a film that invites us to question our own roles as consumers, citizens, neighbors, parents or friends. It asks us to consider how much we are influenced by what others do or say or buy; how much we really know about ourselves or each other; how much we are willing to compromise our integrity for temporary gains; and how much we value honesty, empathy, and authenticity in our relationships. It challenges us to be more discerning and critical of the messages that bombard us every day, and to seek deeper connections with the people and the world around us. As Steve says at one point: “We’re not selling products. We’re selling a way of life.” The question is: whose way of life do you want to buy?
Technical Data
- Runtime : 96
- Release : 2010-04-16
- Genre : Comedy, Drama
- Cast : David Duchovny as Steve Jones, Demi Moore as Kate Jones, Amber Heard as Jenn Jones, Benjamin Hollingsworth as Mick Jones, Lauren Hutton as KC
- Crew : Renee Ehrlich Kalfus as Costume Design, Kristi Zea as Production Design, Janice Hampton as Editor, Andrew Spaulding as Producer, Derrick Borte as Director
- Popularity 13.279
- Budget : $10,000,000
- Revenue : $7,022,728
- Company : Echo Lake Entertainment, Premiere Picture, 20th Century Fox
- Summary : A seemingly perfect family moves into a suburban neighborhood, but when it comes to the truth as to why they’re living there, they don’t exactly come clean with their neighbors.
- Tagline : They’re not just living the American dream, they’re selling it.
