Ben Affleck's come a long way from the schmaltzy rom coms and vaccuous blockbusters of the early noughties. Formerly the butt of every American animated television show's jokes, the 40-year old actor-director seems to have finally hit his filmmaking prime, Argo being his third directorial effort. 

 

When CIA specialist Tony Mendez (Ben Affleck) is called in to rescue six American Embassy Officials who are in hiding from Iranian militants in Tehran, the agent devises a bogus sci-fi flick to act as a cover for a kidnap mission. Mendez sets up a fake studio with film producer Lester Siegel (Alan Arkin) and Hollywood make-up artist John Chambers (John Goodman), and then travels to Tehran, pretending he is there to scout movie locations with a group of "Canadian filmmakers"...who he then plans to smuggle out. False personas are assumed, tensions rise high and lives are risked...

 

 

Argo is aptly paced and exceedingly entertaining. This is best reflected in its audience earnings, which have been overwhelmingly positive: $187m earned from a budget of $44.5m. Affleck is the key driving force behind the piece, creating heavy anticipation from beginning to end.

 

An optimist may even claim it to be one of the few Best Picture nominees that actually stands a chance of beating Lincoln at the Oscars. Despite garnering several best director gongs at the critics’ awards and the Globes, Affleck has been overlooked for a Best Director Oscar. Pi's Ang Lee and Beasts' Zeitlin over Argo's Affleck? Unfair by any measure.

 

Arkin is on top form here, the 78-year old doing his best ironic impression of a cocky, toughminded Hollywood producer, a role reportedly based on Jack Warner. Arkin is famous for being typecast as the wisecracking old geezer, a role he executes endearingly but one that will likely wear thin in the near future. He will win Best Supporting Actor, provided the Academy don't go all gaga over Tommy Lee Jones. 

 

 

 

Despite all its accolades, Argo arguably lacks the panache of Silver Linings Playboook, the unbridled confidence of Django Unchained and the intellectual potency of Amour, its superior fellow Best Picture nominees. Nevertheless, it is still an admirable cinematic achievement which I would highly recommend.

 

 

 

Stars - ★★★