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.
November 04, 2008 12:48pm EST
This period piece takes place amidst the gossip of aristocrats in fascist Italy where the characters search for freedom passion love and self-identity. This is a straightforward tale and much like a good play it has plenty of witty dialogue and a well-paced story. The film opens with a bit of history but we soon enter a world of lust death blackmail and escape. It's an odd love story to be sure but it works. The chemistry between a beautiful English aristocrat (Kristin Scott Thomas) and an American playboy (Sean Penn) lights up the screen.
Scott Thomas and Penn are brilliant together utterly believable as romantic partners. Thomas' elegant demeanor combined with Penn's grittier charms will certainly keep audiences interested. Anne Bancroft's over-the-top princess is full of zest and wit much like her Miss Havisham was in the recent remake of "Great Expectations."
Philip Haas brings together a rich and sensuous blend of settings and characters. He skillfully combines the lushness of a Merchant-Ivory film with bristly more muscular storytelling.
Based on British mystery writer P.D. James’ rather downbeat novel Men takes place in the not-too-distant future where the world is definitely not right. In fact society is facing extinction since the human race has lost the ability to reproduce; there hasn’t been a new child born in 18 years. But as the tagline reads “…all that can change in a heartbeat.” While the rest of England is unraveling as civil unrest runs rampant a young woman named Kee (Clare-Hope Ashitey) is found miraculously pregnant and Theo (Clive Owen) a disillusioned government agent agrees to help secretly transport her to a sanctuary at sea where her child's birth may help scientists save the future of mankind. So sets in motion a race against time fraught with many horrific obstacles. Children of Men collects a first-rate cast. Leading the pack is Owen as yet another reluctant antihero. It’s a good part for the somewhat depressive actor who seems at ease when everything is going to hell around him (see Inside Man Closer etc.). Theo is initially drawn into the Kee conflict because his ex-wife a terrorist/activist--played with brief but quiet determination by Julianne Moore—asks him to. See they share their own personal tragedy so saving Kee and the baby becomes even more important to them. Newcomer Ashitey shines as Kee who really doesn’t understand at all what is happening to her but has a fair amount of spunk anyway. Other standouts include Chiwetel Ejiofor (Kinky Boots) as one of Moore’s compadres with his own nefarious agenda and Michael Caine as an old friend of Theo--a throwback to a more peaceful time. Representing both old and new school Ejiofor and Caine are actors you can simply put in any film and somehow they will make them that much better. But Children of Men’s true brilliance comes from its creator. Co-writer/director Alfonso Cuaron is simply one of the most exciting cinematic storytellers working today. No genre is out of his reach. He has done kiddie flicks (A Little Princess) sexy coming-of-age dramas (Y Tu Mama Tambien)—and even a splashy Harry Potter installment (Prisoner of Azkaban probably the best one so far). And now Men a futuristic thriller that he crafts with absolute bone-chilling effect. Cuaron’s world is not a very happy place with the skies consistently gray with pollution and violence injustice and human cruelty around every corner. When Theo and Kee are on the run you’re expecting the worst at any moment but that’s not really where Cuaron’s head is at. He wants us to have hope. As the director puts it in the film’s production notes “Humanity has an amazing talent for destruction. But also we can show solidarity and an ability to come through problems together. In the end Children of Men isn’t so much about humanity being destructive—its more about ideologies coming between people’s judgment and their actions that is at work in this story.” I couldn’t have said it any better.
If animals could indeed view their surroundings intellectually and talk to each other it’s entirely possible they’d discuss how screwed up human beings are especially in the ridiculous way we waste food. But hey to RJ (Bruce Willis) a wily raccoon what we throw away today becomes lunch tomorrow. He tries to impart some of this wisdom to his newfound friends--a motley crew lead by Verne the turtle (Garry Shandling)--after they wake up after a long winter’s nap and discover most of their natural habitat has been turned into a housing development separated by a very tall hedge. Yep these woodsy folk are sure in for an eye-opening adventure as the manipulative RJ convinces the gang to start collecting boxes of cheese doodles Girl Scout cookies and marshmallows telling them there is little to fear and everything to gain from their over-indulgent new neighbors. Now if they can only get rid of that cat... If you’re an actor these days the chances to play a serious Oscar-worthy role are just as great as playing a squirrel. Or a hedgehog. Or a guy called the Verminator. Over the Hedge has a fine slate of voices starting with Willis as RJ the raconteur raccoon whose pretty savvy to the ways of the paved and pre-packaged world of suburbia. Shandling is the heart of the film as the mild-mannered Verne who just wants to take care of his little woodland family. They include a couple of married-with-kids hedgehogs (pitch perfect Eugene Levy and Catherine O'Hara); a hyperactive but tender-hearted squirrel (a hilarious Steve Carell); an overdramatic possum (William Shatner playing it to the hilt) and his embarrassed teenage daughter (pop star Avril Lavigne); and a snarky skunk with attitude (Wanda Sykes who else?). As far as the humans Allison Janney voices a shrieking but vindictive homeowner while the Thomas Haden Church is said Verminator a fat balding but ruthless pest exterminator. What fun! Over the Hedge keeps to the spirit of the popular comic strip by Michael Fry and T. Lewis on which the film is based. The strip focuses on the travails of friends RJ and Verne as they exploit the human world for their own personal gain while sardonically commenting on how messed up it is. Hedge sort of shows how these two might have met and is just a hoot from beginning to end. The images of woodland animal-meets-modern-day people are spot on: RJ’s spiel on how humans get food (“That’s the receptacle to get the food [a phone]...and that’s the tone when the food comes [the doorbell]”); SUVs (“Humans are slowly phasing out walking all together”); the skunk seducing the stupid cat (“I like your smell.”). The best is when Hammy the squirrel getting so hopped up on caffeinated soda the whole world comes to a stand still for him. Side-splitting stuff. Again success in animation comes when you stick with a simple story and create characters everyone can relate to. Plus hilarious dialogue. It’ll work every time.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.