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Argo

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Argo seems to be unsure of what it is: it begins as a Paul Greengrass-inflected piece of political filmmaking, with newsreel footage interspersed with stage material, in a way that would be impressive if the movie had done a better job of setting the stage. There’s a cheap-looking, animated storyboard opening with voiceover narration explaining the political climate in Iran when the movie takes place. I suppose it mirrors the fake storyboards shown later on, but this feels rushed and does not do a good job of igniting the narrative,. We’re struggling for the first 15 minutes or so of the movie, and life is finally injected into the movie when John Goodman and Alan Arkin show up as movie professionals that help Ben Affleck make his fake movie cover story. Then the movie goes into satiric territory, and it’s surprisingly good and entertaining, but that ends soon, and gives way to a way more generic political thriller. Affleck should be commended, though, for keeping most of the movie understated and not exploiting situations for obvious, cheap thrills. This is a sort of backhanded criticism, however. The movie could’ve been so much worse, but that does not mean it’s good: it only means that there is some visible restraint at work here. In the final 15 minutes, Affleck succumbs to the pressure of having to have an emotional payoff, and he delivers a sequence that is well-put together, but that does not earn any points for trying to keep the movie grounded in any kind of realism. It is based on a true story, but the movie strains our suspension of disbelief in exchange for some, admittedly, needed thrills. That does not mean car chases or shootouts. The emotional high points of this movie could easily have been minor, second-act in a movie with a bigger scale. And this is what makes it satisfying. B

Written by Joe

outubro 22, 2012 às 3:34 am

Publicado em film

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