“To the list of great documentaries rooted in interviews of a single person, such as Shirley Clarke’s Portrait of Jason and Jean Eustache’s Numero Zero, add Robinson Devor’s SUBURBAN FURY. The loose threads of Moore's life story suggest the elusiveness of identity itself… and contradictory goals of which a life is made—and the uncanny connections of intimate motives to the grand currents of history.”

— Richard Brody,

“Riveting. [A] fascinating new documentary. Bursting with energy of the archives and the thrill of a narrator who can’t quite be trusted.”

— Lovia Gyarke,

“A rapt documentary thriller […] SUBURBAN FURY does that rare thing and offers a highly specific motivation for Moore’s infamous crime… Holds you with a kind of rapt tension.”

— Owen Gleiberman ,

“One of the "23 Best (and Most Anticipated) Documentaries of 2024”: Nothing short of riveting, excavating a strange, compelling story from the footnotes of history… The impressive breadth of archival footage manages to sidestep the era’s clichés, while Moore, who served more than 30 years of a life prison sentence, shows off her prime storytelling skills and occasionally some deft evasions.”

— Lisa Wong Macabasco,

“A time capsule of 1970s San Francisco…. The film unfolds like a thriller.”

— G. Allen Johnson,

“Robinson Devor is no stranger to unusual subjects… In his new film, Suburban Fury, Devor sits with Moore to learn her story. Through her eyes, the film presents the immense social and political turmoil of the early to mid-’70s, interlacing copious archival footage into interviews with Moore taking place throughout San Francisco.”

— Dan Schindel,

“Robinson Devor’s filmmaking has always defied easy definition... Through Devor’s distinctive approach—a fragmented narrative divided into numbered chapters—Sara Jane emerges as a dizzyingly multifaceted figure, a collage of complex and contradictory selves. The film is also a rich portrait of an era of American history with distinct similarities to today—a time of intense anger at the government, paranoia about surveillance, distrust between the classes, and impassioned protest movements.”

— Lucia Ahrensdorf,

“Fascinating. Paints its subject as a microcosm for the country that produced her.”

— David Ehrlich,