ARGO
There’s an inherent problem with films
based on history: all the spoilers have been sitting on the Internet for years.
That generally means that films based on history are more interested in themes
than thrills. It’s a little difficult to make your audience yell ‘Look out,
Lincoln! He’s BEHIND you!’ as John Wilkes Booth approaches since everybody
knows it ends badly. (So, good luck with THAT, Spielberg).
That’s why I think Ben Affleck’s Argo is such a remarkable achievement. I
knew the history. I knew how it ended. I was still on the edge on my seat for
the entirety of that third act. Affleck proves to be a master of tension and
atmospherics, ratcheting up the stakes and pressure with every passing scene.
It helps that he has actors of the quality of Bryan Cranston involved, of
course, but this is a superbly directed film. Affleck is assured, expertly balancing comedy and drama to keep audiences
entertained, engaged and enthralled.
I was pre-disposed to love Argo, admittedly; political thrillers of
the kind made regularly in the 1970s are among my favourite genres (also
underdog sports movies, musicals and comic book movies) and almost all the
actors involved have been on TV shows I enjoy at some time or another. (Tate
Donovan IN THE HOUSE. Victor Garber is all kinds of Canadian Ambassador!).
Quite simply, Argo is one of the best
films of the year. Find it. Watch it. Grow your nails back.
Honourable
Mention: Rian Johnson is a director I like a lot
and his latest venture didn’t let me down: the grimy, gritty Looper is well worth your time. It
begins like a standard-issue dystopian thriller and then segues into something
completely different and thematically rich. Joseph Gordon-Levitt and Emily
Blunt in particular are fantastic.
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