Ben Affleck's Über-Arresting ARGO

ARGO (Dir. Ben Affleck, 2012)

Actor/director Ben Affleck more than tops THE TOWN (which topped GONE BABY GONE) in his splendid third thriller, ARGO, a sure-fire Oscar contender that boasts a stellar cast, and an über-arresting story.

Based on a previously little known story about the rescue of six Americans from Tehran during the Iran hostage crisis in 1979, Affleck’s film casts its way back machine spell in the first few minutes starting with the use of Saul Bass’s classic ‘70s Warner Brothers logo (also used this year in Steven Soderbergh’s MAGIC MIKE). A few minutes later, we see authentic looking footage of the storming of the American Embassy in Tehran.

After burning and shredding every document they can, a group of U.S. Diplomats flea the embassy and take shelter at the Canadian ambassador's home nearby.

As CIA technical operations officer Tony Mendez, Affleck brainstorms a plan involving disguising the escapees as a film crew visiting Iran to scout locations for a sci-fi flick named “Argo” so they leave the country under cover.

It’s a plan so crazy, it just might work, or as Breaking Bad’s Bryan Cranston as a CIA higher-up says to an even higher-up Philip Baker Hall (see what I mean by a stellar cast?): “This is the best bad idea we have, sir. By far.”

To make a fake movie, they need a real producer so Affleck gets Alan Arkin as the fictional Hollywood mogul Lester Siegel, who has some of the best lines as well as the film’s catch-phrase, if you will. John Goodman as make-up artist John Chambers (not fictional) is also on hand, and also good for a few choice lines.

We spend a little quality time with the frightened Americans (Tate Donovan, Scoot McNairy, Clea DuVall, Rory Cochrane, Kerry Bishé, and Christopher Denham) holed up at the Canuck’s makeshift safehouse hoping to avoid detection. They understandably are skeptical of Affleck’s idea, but what choice do they have?

Chris Terrio’s no-nonsense screenplay, based in part on Joshuah Bearman’s 2007 Wired article “How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran,” doesn’t strain as it keeps each point of the well-crafted narrative in check.

At first, it might amusingly look like ANCHORMAN, with the Jimmy Carter-era hairstyles and fashions, but that quickly fades into the great grainy look of the film in which cinematographer Rodrigo Prieto (BROKEBACK MOUNTAIN, BABEL) suitably evokes ‘70s cinema.

Affleck’s film only falters when the mission is almost aborted before the third act, and our leading man sulks until he gets his mojo back. Throughout ARGO, close-ups of Affleck’s bearded mug dominate the screen, but during this bit they are overly omnipresent.

Otherwise, Affleck has made a great movie that could be seen as a salute to the American can-do spirit, as cheesy as that sounds. But primarily it's a movie made by a guy who really loves movies, and really knows how to sell a story. 

Watching this guy, with his cast and crew succeeding in selling this story makes for one of the most intensely entertaining movies of the year. And not only is ARGO is Ben Affleck's best movie as director, it's his best work as an actor. By far.

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The TOTAL RECALL remake really ain’t right

TOTAL RECALL (Dir. Len Wiseman, 2012)

With its dark rainy dystopian cityscape full of video-billboards, flying cars, cyberpunk people with neon umbrellas, and Asian architecture, one could be forgiven for thinking in the first five minutes that this is a remake of a different Philip K. Dick adaptation: BLADE RUNNER.

But then what little plot there is kicks in and we are stuck inside this big over-caffeinated mess of a movie that’s a much looser take on the 1966 short story (“We Can Remember It for You Wholesale”) than the 1990 Arnold Schwarzenneger/Paul Verhoeven version.

In this one, which takes place in 2084 (the same year the ’90 one was), Colin Farrell plays Doug Quaid, a robot factory assembly line worker married to Kate Beckinsale, who decides to give a memory-implanting service, the Rekall company, a whirl.

Things get all screwy and the secret agent vacation he’s purchasing reveals that he actually is a secret agent named Hauser, a bad ass who didn’t even know he was (see: Jason Bourne) that can kick the asses of legions of robo-cops.

So from there it’s essentially a bunch of high octane fight and chase sequences tied together by the thin thread of what used to be a cool sci-fi scenario.

Breaking Bad’s Bryan Cranston livens things up a bit, but his role as the evil Prime Minister who is after Farrell is as generically written as every other element here. Of course, Cranston has a convoluted political plan to, uh, let’s just say to rule the planet and become the all-being master of time, space and dimension. Yeah, let’s go with that.

Jessica Biel, who obviously has the same hair dresser as Beckinsale, who is just here to add more sexy acrobatics to this only action-minded atrocity.

A major sequence that features a chase through a ginormous elevator system made of accelerating cubicles gets close to being exciting, but the clutter of fast-acting CGI and overabundance of washed out looking backgrounds kept me from being in the moment with the characters.

To be fair, Farrell does a good job with what he’s given. He’s a guy that gets more interestingly nuanced as he gets older - I really hope to see him in something more interesting soon.

The humorless nature of this movie is disheartening because the 1990 original had a satisfying satirical spark to it, and it had the smarts to keep the sleaziness at bay until the second half on Mars.



This one doesn’t go to Mars, but this starts off sleazy - for example the infamous three-breasted prostitute (yeah, no way they could leave her out) is brought out much earlier. Why wait, right?

One of the biggest laughs in the whole movie was in the first few seconds when the name of one of the production companies appeared: Original Film. Yeah, as if!

Never thought I’d laud a over 2 decades old somewhat schlocky Schwarzegger movie so much, but before this new Wiseman-helmed waste - the Verhoeven version wasn’t close to being a classic.

After seeing this though, it sure as hell looks like one.



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LARRY CROWNE: The Film Babble Blog Review

LARRY CROWNE (Dir. Tom Hanks, 2011)

Initially, it's kinda neat to see Tom Hanks as just another average Joe for the first time in ages. He's playing a divorced man who prides himself on being named Employee of the Month repeatedly at the ficticious U-Mart (a Walmart-like big box store) he's worked at since retiring as a Navy cook.



Thing is, Hank's wide-eyed ernest title character never went to college, so he gets told by the store's higher-ups (including Rob Riggle) that they have to lay him off.



Hanks buys a motorscooter at his neighbor Cedric the Entertainer's permanent yard sale, so he can save money on gas, and applies to every retail outlet in the area. He learns over and over again that times are tough. Mainly because folks keep saying that out loud.



Hanks enrolls in community college where he befriends a fellow scooter rider classmate Gugu Mbatha-Raw, and falls in love with his professor (Julia Roberts somehow seeming bored and smug simultaneously) who teaches a class called "The Art of Informal Remarks." No really.



If it feels like I'm rushing through the plot it's only because there isn't much of one. A UP IN THE AIR-type premise about the bleak job situation doesn't go anywhere, and neither do any of the cutesy collection of comic bits that Hanks strains to set up.



Hanks' first film as director, THAT THING YOU DO (1996), was a trivial but highly likable musical comedy, so I had hopes that his second try at helming a vehicle would have something more going for it than what the trailers were suggesting. No such luck.



This flimsy film also features Breaking Bad's Bryan Cranston in a horribly written role as Roberts' no good writer husband who spends more time looking at internet porn than working at home, and That '70s Show's Wilmer Valderrama as MBatha-Raw's jealous boyfriend, which is also a thankless uninspired part.



Only Lietenant Sulu from Star Trek himself, George Takei as a Economics proffesor has a few moments of something slightly resembling funny.



Hanks has blandly assembled a half-assed rom com out of very limited material, stitched together with empty quasi-inspirational sentiment, and Tom Petty songs.



After watching this film I can't answer who Larry Crowne is. Hanks' everyman appeal fades in the first 10 minutes and we never learn nothing about why his marriage ended or why he so loved his retail job before he was canned.



There's nothing interesting about Roberts' character either - she's a jaded educator, that's all I got. So why should we care if they get together?



I can't think of a single reason.



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Serious Series Addiction Part 3: Breaking Bad, Treme, And The End Of Lost,

It's time to talk about TV shows again. As I've said before, though this is a film blog I do from time to time babble about television programs that I've been keeping up with. So let's get to them:

Breaking Bad






I had watched this show off and on before, but became hooked on it recently in its extremely strong 3rd season. 



AMC's intense yet darkly humored drama involves Bryan Cranston, best known previously as the dad on Malcolm In The Middle, as a high school chemistry teacher diagnosed with terminal lung cancer.



To provide for his pregnant wife (Anna Gunn) and his son (RJ Mitte) who suffers from cerebral palsy, he turns to a life of crime: producing and selling methamphetamine.



As a former student of Cranston's living a sordid existence as a drug dealer, Aaron Paul is enlisted as a partner in the dangerous yet highly profitable endeavor. 



Dean Norris as Cranston's crusty brother-in-law just happens to be a DEA agent close on their trail though he is unaware of their identity. There's also trouble with a Mexican drug cartel, along with strife at home and much in-fighting between Cranston and Paul.



Set in the orange hued world of Albuquerque, New Mexico, Breaking Bad has the urgency and scope of many movies. Cranston's performance is a study in edgy power; one minute he's a measured man of reason - the next an exasperated kook, a time bomb waiting to go off. His clashes with Paul, his strained talks with his wife, and his stoical business manner give the show a forceful fluidity as it goes from searing scene to scene.



Bob Odenkirk (Mr. Show) was added in the second season as a sleazy lawyer and he shows up quite a bit in the third season which is a nice funny touch to the proceedings. 



Although one can probably pick it up at any point, I'd recommend renting it and watching from the beginning. The first and second seasons are available on DVD and Blu ray; the third should be soon after it finishes its run on June 13th. 



Treme

David Simon and Eric Overmyer's follow-up to The Wire has many similarities to that seminal series.

It's a web of story threads concerning a complicated culture, it examines sociopolitical themes, and it features a few of the same players: Wendell Pierce and Clarke Peters among them.

But don't get me wrong - it's a very different animal in one major way: music. Treme is bursting at the seams with the rich sounds of New Orleans jazz.

Three months after hurricane Katrina, we are thrown into the aftermath from nearly every angle. The hurting viewpoints of struggling musicians, frustrated restaurant owners, civil rights workers, and outspoken citizens blanket the battered city, but the bands play on.

Along with The Wire's Pierce as trombonist Antoine Batiste and Clarke as a Mardi Gras Indian tribe leader trying to bring his people home, we've got Steve Zahn as a slacker singer songwriter, Kim Dickens as a cook based on famed chef Susan Spicer, Khandi Alexander as a bar owner who is also Pierce's ex-wife, Melissa Leo as cynical lawyer, and John Goodman as Leo's husband - an opinionated college professor and author who has just discovered YouTube in its 2005 infancy as a forum for his anger fueled rants.



Oh yeah, there's also a young couple - Michiel Huisman on keyboards and Lucia Micalelli on violin - who try to make their living from street performances. Treme is absorbing viewing that swiftly juggles all those characters and their scenarios in an intoxicating fashion. 



One feels like they are really getting the flavor of New Orleans through these people and the well chosen locations. It oversteps contrivances and keeps your feet tapping throughout each episode. I'm not sure that it alone is worth subscribing to HBO for, but it definitely deserves a place in your Netflix queue. Happily it's been renewed for a second season. 



Lost: "The End"

As I've documented here before, I began watching the vastly popular island castaway drama Lost in January of this year on Netflix Instant while pedaling on my exercise bike. 

I pedaled though all 5 seasons until I was caught up with the sixth and enjoying it all immensely from my sweaty bikeseat - though there were some dull or tedious patches here and there.

The bike made me feel like I could pedal fast through the stupidity then race on to the next one.

Up until the last handful of episodes I hadn't had the experience of waiting week to week to see what happens like the folks who were there from the beginning in 2004. 

Those seem to be the people who are complaining about the just aired finale on blogs, message boards, or status updates all over the internets. Their complaints being that the mythology wasn't satisfied with a lot of questions unanswered.

I can't imagine how I could spoil it for anybody who hasn't watched the show so I'll just say that it was simply about the characters' fate - principally Jack's (Matthew Fox) - rather than the particulars of their journey.

I would have liked to have some questions answered too - the 4 toed statue for one - but, like the end of The Sopranos did, it's growing on me.

If you have Netflix Instant - it's a great way to watch the show because you don't have to deal with waiting on individual discs. I can completely understand folks being discouraged at the prospect of 121 episodes and the bitching from the online minions about its conclusion, but I didn't find it to be a waste of time at all. 

Maybe though, that's the Dharma Initiative beer talking. That's all for TV for now - back to the movies, that is until the 4th season of Mad Men premieres. Then be sure to expect another post about serious series addiction. 

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