EPISODE 33 - TWILIGHT: NEW MOON

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REVIEW - ARGO

“Based on a true story” can mean many different things. When you use “based on a true story”, there’s a reason: you’re not being 100% accurate. Argo is not a 100% accurate portrayal of the exfiltration of six American diplomats from Tehran, Iran. There are dramatic liberties taken, and the events are seen from a perspective that places more import on the CIA (particularly Ben Affleck’s character Tony Mendez). That’s not to say the film is inaccurate, because it absolutely is not inaccurate. These events happened, and they are the kind of events that make you want to work for the CIA. Honestly, I came out of this movie ready to sign up (as if they would take me). All I’m saying, though, is that there is a reason these events are widely referred to as the “Canadian Caper”; Canada had a hell of a lot to do with what went down, and their role is fairly minimized in Argo; that’s mainly for dramatic reasons, and I think it helps the movie. (The film does include the actual source of the “Argo” name for the fake film, although it has been repurposed into a running joke throughout the movie.)

On November 4, 1979, militants stormed and took over the American embassy in Tehran, Iran. If you know anything about American history, you should at least be aware of “The Iran Hostage Crisis”; 52 Americans were held hostage for 444 days. It was kind of a big deal. Anyway, on November 4, 1979, when those militants stormed the embassy, there were six Americans who were able to escape into the streets of Tehran. Those six Americans eventually found themselves in the home of Ken Taylor, the Canadian ambassador to Iran. What’s not in the film is that a Canadian immigration officer named John Sheardown was instrumental in introducing the six American diplomats to Ken Taylor. Anyway, Argo starts with this and shows what went into the exfiltration of these six Americans, including the creation of the fake “Argo” film.

There is so much to like about this movie. It begins with the amazing, mostly-true adaptation of the Canadian Caper, but it doesn’t even come close to stopping with that. Obviously, this movie is a period piece set in 1979-1980, and it feels every bit like it. When you watch this movie, you will feel like you’ve been transported thirty years into the past (or more, depending when you watch it). Do you want to know what the CIA was like in 1979? It’s here! For example: there’s almost no security to go through when you come in the building. Want to know what Hollywood was like in 1979? Sure thing! The famous “Hollywood” sign is shown in its infamously deteriorated state. Granted, by 1979, the previous “Hollywoodland” sign had already been through its worst state and been restored in 1978, but it’s still a snapshot of the state of Hollywood in the 1970s. Want to smoke on an airplane? Go ahead! It’s 1979! Want to see what Iran looked like in 1979? Well, you could probably just go there, now, to see that; that’s kind of how things go in Iran; Still, though, the turmoil caused by the Iranian Revolution of 1979 is right there on the screen. Many of the things shown to have happened in Iran are things taken from actual footage of what did happen in Iran. To me, Argo perfectly captures the world within which it takes place.

Say what you will about Ben Affleck: he’s acted in some not-so-great movies, and he’s acted in some very good movies; which ones are which is up for a debate that I’m not interested in having here. What no sane person will argue, though, is that Affleck is a hell of a director. You can’t say he isn’t. If you say he isn’t, you’re wrong, and you lose all credibility. Gone Baby Gone and The Town are excellent films, and you can go right ahead and add Argo beside them. What Argo does, though, is demonstrate that Affleck isn’t just a “Boston movie” director. He doesn‘t only direct that movie; like with The Town, Affleck also stars in Argo as Tony Mendez, the film’s lead character and the guy who comes up with the “best bad idea we have” to fake a movie to rescue the diplomats. Affleck’s Mendez is separated from his wife, so it’s safe to assume he’s been focusing more on his work life than his home life. He also has a son, and Affleck plays the role of an estranged father so well here; when he speaks to his son on the phone, it’s played with such an uncomfortable melancholy. He doesn’t want to do this; it’s not because he doesn’t want to speak to his son but because he wants to be with his son when speaking to him. The role is really molded to fit Affleck, and I guess that’s one of the perks of directing yourself.

The supporting cast includes Bryan Cranston, Mendez’s supervisor. He and Affleck have a great, comedic rapport, but the character is absolutely solidified, in a key scene that is decidedly not comedic. John Goodman plays John Chambers, a Hollywood make-up artist who Mendez goes to for help faking the movie. Goodman is always great. Always. But he’s fantastic here, with the bulk of his scenes coming alongside Alan Arkin, who plays a Hollywood producer. Their scenes are hilarious. Lastly, I’ll mention Victor Garber, who plays the infinitely important role of Ken Taylor. Garber captures the dignity of the role really well. Ken Taylor committed himself to helping these six American diplomats, and he knew exactly what that could mean if the wrong people found out.

Honestly, everything about this movie is good. Like I said, I came out of the theater ready to join the CIA; I also came out liking this movie. Ever since seeing it, the more I think about it, it’s only gotten better in my mind. Seriously, I have zero complaints about Argo. If you happen to disagree, that’s fine. I only have one suggestion: Ar… Go fuck yourself!

-John

REVIEW - LOCKOUT

I’m a Guy Pearce fan.

There’s a sentence I can’t imagine is uttered all too much outside of the Pearce family living room.

I don’t care though. I like the guy. He’s an underrated talent. Memento was great. The Proposition was a well-made piece of work. L.A. Confidential was fantastic, and Ravenous remains one of the more underrated horror flicks of all time. The dude brings an air of legitimacy to almost anything he’s cast in.

Like I said, I’m a Guy Pearce fan.

Deal with it you sons of bitches.

Because of my card card-carrying status as a member of the Guy Pearce Fan Club I was willing to give Lockout the benefit of the doubt. I even paid three bucks for it through Amazon OnDemand.

That was stupid of me.

Those bucks could have bought me a candy bar – two of them.

Lockout is basically about falsely convicted government agent (Pearce) who is sent on a mission to a prison in space to save the life of the president’s daughter. Yeah, I know, that sounds an awful lot like Escape From New York, right? Yep, it sure does. The entire film is a hodgepodge of stuff that has come before and stuff that was done much better the first time around.  It stealsborrowspayshomageto more genre flicks than I can name and Pearce’s character is somewhatmostlybasically Snake Plissken without an eye patch and feathered 80’s hair.

Still, on the rare occasions that the movie actually works, it works because of Guy Pearce. Plisskin 2 has a fair amount of charisma. He’s mostly fun to watch, he’s relatively easy to like, and you find yourself basically rooting for him to pull off the impossible. Those are all positives when it comes to this kind of movie.

It’s just too bad that everything else sucks.

Maggie Grace is a mess. The inmates are annoying. The supporting cast is more of a mess than Maggie Grace. And the inmates are still annoying. Also, here’s a tip to all the aspiring filmmakers out there: if you don’t have the budget to pull off an effects shot, come up with a workaround. Really terrible digital effects are far worse than no digital effects at all. There’s a motorcycle “chase” within the first ten minutes of the movie that made some of the fine work in Sharktopus seem like it deserved an Academy Award.

Lockout was directed by a pair of guys named James Mather and Stephen St. Leger, and Luc Besson apparently helped them write it. Despite the many claims of orgy-porn throughout the years, two heads aren’t always better than one, and three heads is just awkward and uncomfortable.

I’m a fan of Guy Pearce.

I still can’t recommend this movie.

It’s not fun enough to be a stupid-fun action flick and it makes no attempt to be anything else. It’s also a waste of a damn fine performer, which might be the most frustrating thing of all.

Sorry, Guy Pearce.

-STEVEN

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