It's pretty decent, but there are a lot of missed opportunities here. With the opening sequence it draws a compelling, nuanced political backdrop that's used as a jumping-off point for the story. I wish it had explored way more of that, because while director Ben Affleck likes to pretend that this has been a story about international diplomacy at the end of the film, the struggles and political intricacies of the Argo operation never really come to the foreground. Instead, what's delivered here is a relatively safe crowdpleaser. The focus mostly lies on the extraction mission, and while that's a great device for building tension, there are scenes where I can just feel the authenticity slipping away. Look no further than the 10-15 minute interlude that takes place in Hollywood where the dialogue, staging and tone feel like they come from a different film, or the final set piece at the airport where Affleck amps up the conventional Hollywood theatrics so much that it stretches any believability (and if you get a similar feeling during those scenes it's for good reason, because none of that stuff actually happened). Still, this is a fast moving triller with a really unique hook and a few nail biting sequences. I loved the opening and Bazaar sequences for their intricate editing that brings out the most tension. The acting is solid, though they could've gone way further in developing these characters, because neither Affleck, Cranston nor any of the hostages are playing the most compelling characters. In terms of filmmaking, Affleck continues his post-Paul Greengrass style that was also present in Gone Baby Gone and The Town (fast editing, tight close-ups), however this time he combines that style with film grain and retro lighting in order to get closer to the time period of the late 70s. While this is overall aesthetically an interesting film, he's a little too eager to shove period detail in your face (although he doesn't go as crazy with that as he later would with Air). The score, besides a few cultural specific references, is quite forgettable and used in all the predictable ways one would expect from a Hollywood thriller in 2012. Overall, this is a pretty fine film, though quite safe and diplomatic. In that way it was the only logical contender to win the top prize from the Academy Awards: an institution that likes to be safe and diplomatic.
Review by JordyVIP 8BlockedParent2023-12-29T11:31:21Z
It's pretty decent, but there are a lot of missed opportunities here. With the opening sequence it draws a compelling, nuanced political backdrop that's used as a jumping-off point for the story. I wish it had explored way more of that, because while director Ben Affleck likes to pretend that this has been a story about international diplomacy at the end of the film, the struggles and political intricacies of the Argo operation never really come to the foreground. Instead, what's delivered here is a relatively safe crowdpleaser. The focus mostly lies on the extraction mission, and while that's a great device for building tension, there are scenes where I can just feel the authenticity slipping away. Look no further than the 10-15 minute interlude that takes place in Hollywood where the dialogue, staging and tone feel like they come from a different film, or the final set piece at the airport where Affleck amps up the conventional Hollywood theatrics so much that it stretches any believability (and if you get a similar feeling during those scenes it's for good reason, because none of that stuff actually happened). Still, this is a fast moving triller with a really unique hook and a few nail biting sequences. I loved the opening and Bazaar sequences for their intricate editing that brings out the most tension. The acting is solid, though they could've gone way further in developing these characters, because neither Affleck, Cranston nor any of the hostages are playing the most compelling characters. In terms of filmmaking, Affleck continues his post-Paul Greengrass style that was also present in Gone Baby Gone and The Town (fast editing, tight close-ups), however this time he combines that style with film grain and retro lighting in order to get closer to the time period of the late 70s. While this is overall aesthetically an interesting film, he's a little too eager to shove period detail in your face (although he doesn't go as crazy with that as he later would with Air). The score, besides a few cultural specific references, is quite forgettable and used in all the predictable ways one would expect from a Hollywood thriller in 2012. Overall, this is a pretty fine film, though quite safe and diplomatic. In that way it was the only logical contender to win the top prize from the Academy Awards: an institution that likes to be safe and diplomatic.
6.5/10