Knight and Day
2010
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Diversity score: 2.7 out of 10
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Keeping Up with the Joneses
2016
PG-13Director
Greg Mottola
Runtime
105 minutes
Average Rating
No ratings yetSynopsis
An ordinary suburban couple finds it’s not easy keeping up with the Joneses – their impossibly gorgeous and ultra-sophisticated new neighbors – especially when they discover that Mr. and Mrs. “Jones” are covert operatives.
Where to Watch
Diversity & Representation
Overall Score
2.6/10
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks LGBTQ+ characters or non-cisnormative identities. Romantic dynamics are centered entirely on heteronormative pairings.
Gender Representation
Female leads possess significant screen time and agency. However, the narrative relies on traditional gendered tropes rather than dismantling established hierarchies.
Racial & Ethnic Diversity
Casting is predominantly homogeneous, focusing on a white suburban demographic. The story centers on a traditional Western suburban archetype.
Religious & Cultural Diversity
The film offers a superficial critique of wealth and consumerist status-seeking. It presents the nuclear family as the standard setting.
Disability Representation
There is no significant presence of characters with visible or invisible disabilities. The narrative lacks engagement with neurodivergence or chronic illness.
Strengths
- Female leads Gal Gadot and Rebel Wilson possess significant screen time and agency within the plot.
Areas for Improvement
- The film lacks LGBTQ+ representation and fails to explore non-cisnormative identities.
- Casting is predominantly homogeneous, focusing on a white suburban demographic.
- There is no narrative engagement with disability, neurodivergence, or chronic illness.
- The critique of social status and consumerism remains superficial and mainstream.
AI Analysis
Keeping Up with the Joneses operates as a conventional mainstream comedy that prioritizes genre tropes over progressive narrative depth. While the film provides character engagement within its comedic framework, it lacks the intentionality needed to challenge systemic hierarchies. The production focuses heavily on a white, suburban demographic, leaving little room for racial or ethnic intersectionality. This homogeneity extends to the social structures presented, which center on traditional Western archetypes. Ultimately, the film functions as a commercial comedy that avoids deconstructing social hierarchies. It utilizes the pursuit of status as a comedic engine rather than a tool for social critique.
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