With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
Gavin O’Connor’s (Miracle Pride and Glory) stirring new drama Warrior is an underdog tale set in the nascent sport of Mixed Martial Arts fighting. In its relatively short life MMA has yet to inspire much quality cinema of note. It now has its Rocky.
Warrior’s twist on the traditional underdog formula is to provide us with dual protagonists: the fightin’ Conlon brothers Brendan (Joel Edgerton) and Tommy (Tom Hardy). Neither have spoken to each other since the dissolution of the parents’ marriage fourteen years earlier. Both of late have fallen on hard times. Tommy is an Iraq war veteran who has turned to pills and booze since returning from abroad; Brendan is a high school science teacher and devoted family man victimized by the financial crisis. Circumstances compel them both to seek salvation in the fight game.
Conveniently enough the opportunity of a lifetime arrives in the form of Sparta a brand-new winner-take-all MMA tournament that awards its champion a cool $5 million – more than enough for Brendan to save his house from foreclosure or for Tommy to make good on his pledge to provide for the family of a friend killed in Iraq. By this point we know for certain that fate has determined Brendan and Tommy will meet in the final and we know for certain how utterly ridiculous this scenario is. And yet we accept it because by this point Warrior already has us in its corner.
The origins of the brothers’ enmity are ultimately traced to their father Paddy (Nick Nolte) a monstrous alcoholic whose abusiveness led their mother and Tommy to flee fourteen years prior. Brendan stayed behind and Tommy never forgave him for it. When we see Paddy he’s broken-down husk of a man God-fearing and 1000 days sober his face creased with shame and regret. Neither son can stand the sight of their old man but Tommy in need of someone to train him for the tournament reluctantly enlists his father’s help. Paddy eyeing a last chance at redemption enthusiastically complies.
Cue the training montage. A fighter rising from obscurity to the upper echelons in his sport within a matter of weeks is hard to swallow; when two fighters do it it’s a borderline insult to the sport. MMA aficionados might blanch at watching Tommy and Brendan gain one unlikely win after another; more likely they’ll be too absorbed by the action to care. It helps that Hardy and Edgerton both look the part and are both skilled enough at their craft to lend the film’s many brutal fight scenes a distinct realism. It helps even more that the story and the actors' stellar performances have us firmly aligned with their goals.
O’Conner a veteran of the genre deploys the underdog tropes at his disposal freely but assiduously crafting a tale that is unabashedly far-fetched but grounded in characters who are intensely appealing and who feel authentic. The storytelling is clumsy at times – that Nolte’s character listens to a book-on-tape of Moby Dick throughout the film feels particularly heavy-handed – but Warrior wisely steers clear of bombastic speeches or cloying sentiment.
Warrior’s climactic final fight in which the estranged brothers at last meet in the ring is both gut- and heart-wrenching. When the film’s suitably happy ending does eventually arrive the film gives way ever-so-briefly to hokeyness. But after what these kids have gone through you can forgive them for getting a little emotional.
I say "creepy" because Untraceable’s theory could actually be a reality. The possibility of a tech-savvy psycho setting up a Web site that displays graphic murders could happen with the fate of each of the tormented captives left in the hands of the public: The more hits the site gets the faster the victims die--and in the case of Untraceable die in very gruesome ways. Of course Untraceable also gives us a peek at the good guys--the FBI division that is dedicated to investigating and prosecuting cybercriminals. Special Agent Jennifer Marsh (Diane Lane) is one such Internet expert who along with her co-worker (Colin Hanks) is stymied by KillWithMe.com’s untraceablity. But soon the movie turns predictable as the cat-and-mouse game gets personal and Marsh must race against the clock to stop the madman. Lane has certainly looked better in her past movies. For obvious effect they’ve made Agent Marsh rather worn-down with dark circles under her eyes and very little makeup as she sits in front of the computer hunting the bad guys all night on the late shift. The fact that she’s also a widow having lost her cop husband to the job and caregiver to her young daughter doesn’t help the woman get anymore rest. Then when the crap starts hitting the fan and people close to Marsh get hurt the actress really shows the pain on her already haggard face. Marsh even admits “I do a lot of things well but I don’t lose people well.” It’s a standard tough-FBI-agent role and Lane is very capable at it. Supporting her is Hanks (Orange County) as the resident comic relief (what little of it there is) as well as Billy Burke (Fracture) the local cop trying to help Marsh catch the psycho Internet killer. As for the killer himself the actor who portrays him (and I won’t give it away) is very effective in the role. There are a couple of other things Untraceable has going for it besides the chilling premise: director Gregory Hoblit who knows his way around a crime thriller having directed gems such as Primal Fear and Fracture and the dank Portland Oregon locale. Hoblit creates just the right amount of tension and dread as the clock ticks down and the race nears its end but something about an overcast rainy environ just lends itself to more doom and gloom doesn’t it? Of course there are also the torture scenes which add a certain level of Hostel-like horror. What Untraceable lacks is a compelling narrative. The bevy of writers involved (never the best of signs) tend to throw in too many conventional thriller plot points--like the red herrings on who the killer is before he’s revealed and explaining why the killer is doing what he’s doing. All these things dilute the film’s initial potential. Still let’s just hope this doesn’t spawn real-life copycats.