LFF: Argo Review

Director: Ben Affleck

Writer: Chris Terrio, Joshuah Bearman (original article)

Starring: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Shoot McNairy, Rory Cochrane, Kyle Chandler

Plot: After the American coup d’état of the Iranian government in 1968, Iranian civilians revolt and hold several American embassy workers hostage. 6 escape and hold up, secretly, in the Canadian embassy. As their sanctuary becomes compromised it’s up to the CIA and one agent’s hare-brained scheme to get them out.

In some circles it’s known as the “McTiernan run” – three consecutive films wildly popular, highly regarded and sudden classics. Based on John McTiernan’s trio of grade-A films – Predator in 1987, Die Hard in 1988 and The Hunt for Red October in 1990 – the film-critic category is something to be favoured for those understanding the reference. Ben Affleck has just been added to the group, scoring a hattrick with Gone Baby Gone, The Town and new-release, Argo. Affleck always suffered some criticism with parts in Pearl Harbour and Jersey Girl though his move into directing has left him invulnerable to any further attacks. The man has clearly found his better calling and whilst he still acts (and decently, for that matter), his skill in the business is quite clearly calling the shots.

Affleck didn’t exactly need to mature with new project choices as Gone Baby Gone and The Town were equally profound and tough movies to make, yet he has not backed down in spotlighting his knack for storytelling. Behind and in front of the camera, Affleck is a commanding presence though never in an egotistical manner. In fact, Argo seems him as the lead but a quiet and restrained one at that. The main pull for the film are Bryan Cranston, Alan Arkin, John Goodman, and Scoot McNairy who superbly support Affleck’s efforts as the protagonist. Most of the elements fit together wonderfully and if any criticism is to be made its the middle part of the film has less input from the characters of Cranston, Arkin and Goodman than what would be desired. As Affleck’s Dave travels off to Iran, all three are left behind in the States to manage the mission from home turf. When we see a more balanced set of storylines (cutting back and forth between Dave abroad and the CIA and Hollywood personnel) the film seems gloriously energised but the occasional departure of this formula does drain the film of some drama.

Slight flaws can be excused for the sheer satisfaction you get from watching Argo. The plot almost seems overtly ridiculous but you must remind yourself of the “based on a true story” subtitle at the very beginning. Few alterations have been made to this extraordinary story and all the way through you sit there in stupefaction at the bravado of the plan. Even as you may know how the story ends –  with it being a semi-autobiographical representation – the tension never wanes one bit.

As a film and a movie – to study and enjoy – it can please on all levels. Aesthetically, it’s gorgeous; with Affleck referencing the classic 70s political thrillers (i.e. All The President’s Men and The China Syndrome) and enhancing that idea by shooting on regular film and magnifying it widescreen in age of digital presentation. Soundtrack would be up to par with the visuals were it not for some non-diegetic tracks getting cut short (The Dire Straits’ “Sultans of Swing” being one example) and a score that has little to add to the already-fantastic sound of the snappy dialogue. More often than not, every part of Argo is polished, demonstrating Affleck’s natural gift for crafting a film.

Argo is a pure triumph in every way; expertly written, directed and acted. Unexpectedly hilarious at points, making it not only intriguing and compelling, put amusing too (“It’s the best bad idea we have” is one example in a flurry of laugh-out-loud lines). All recognition must go towards Affleck who compiled a top- troupe of cast and crew without making it a display in blowing one’s own trumpet. Affleck knows what works and the finale of the film greatly advertises that notion. Cinematography and editing is tremendous throughout but by the end it’s in a whole different league – awards-worthy directorial technique. You leave Argo astonished by what you have seen and completely in awe of the cast and crew’s proficient contribution to filmmaking.

*****

By Piers McCarthy. Also posted on LiveForFilms

Breaking Bad Season 4 DVD review (Spoiler-free)

Stars: Bryan Cranston, Aaron Paul, Giancarlo Esposito, Anna Gunn, Dean Norris, Betsy Brandt, Jonathan Banks, Bob Odenkirk, RJ Mitte

Created by: Vince Gilligan

For nearly every television series there is at least one seminal season; for Breaking Bad it is most definitely Season 4*. Vince Gilligan and his band of writers and directors have expertly crafted 12 episodes of pure dynamism, drama and delight, unlike anything seen on television before.

Having finished Season 3 on excruciatingly tantalising and tense events, Season 4 does not ease you in. Instead, it pins you to your seat from the moment the smoky title fades into the episode. Episode 1 has little dialogue and one gruesome murder that may deter anyone walking in on or randomly switching over to the Emmy award winning show, but to those that know and love Gilligan’s incredible programme, it is a welcome continuation to the rough and ready thrill-ride that is Breaking Bad.

Season Four mostly centres around Gustavo Fring (Giancarlo Esposito) and the “palpable fear that...[he] represents” (to quote Esposito) as he comes into conflict with Walter White (Bryan Cranston). Cranston, in interviews on the special features, explains the season with great clarity by stating, “Walt has to live with this tension [hostility from Gus] throughout the season – he doesn’t know what his fate will be...The noose keeps tightening around his neck, and around his family’s neck, and it’s just anxiety-ridden”. “Tension” does not begin to cover it and by the gripping, momentous finale you are left bawled over by the sheer bravado of the show.

Performance-wise it is flawless and multiple Emmy Award-winners, Cranston and Aaron Paul, are on top form as always. The latter, especially, has some incredibly raw moments of dejection and exasperation that he embodies with extraordinary prowess. As the two leads continue to win over the audience, the villain, in the form of Esposito’s cold, brooding Gus, never escapes your mind for a second. The presence of the “Chicken Man” is continually felt and, at times, you are intrigued as to his personality and back-story. Fortunately, one episode includes a brief but brilliant flashback to Gus’ humble beginnings which sets up a triumphant 10 minute sequence in a later episode and, overall, fleshes out this near-inhuman shadowy figure.

Along with an ever-evolving examination into the lives of Walter, Jesse, Skyler, Hank and Gus, the entire design of the show seems to have progressed. Michael Slovis’ cinematography is perhaps the most fascinating aspect of the design and the overall look is both ethereal and gritty – an inspired combination to present a story of a mild-mannered chemistry teacher turned meth cooker/criminal. In Season 4, Walter White’s narrative crux is based around his metamorphosis into a Machiavellian monster and Slovis’ darkened perspective does wonders at helping to represent that. It also adds a dramatic weight, much like Gordon Willis’ The Godfather: Part II cinematography (an interesting parallel with stories chronicling a man changed – sometimes for the worse – by power), by entrenching both the characters and the viewers into figurative black pits of peril.

Sound is similarly engaging and for those with surround sound systems, the cinematic style embraced by Gilligan and co can be truly experienced. One episode in particular – ‘Crawl Space’ – uses a low boom and bass of a heart-beat sound effect that ripples through your living room (and through your body, as you feel and hear the pump concurrently), leaving you completely worn out by the compelling final minute. Furthermore, with Dave Porter’s original score and a variety of well-chosen soundtracks, your eyes will not be the only bodily receptor being indulged.

For fans only used to streaming the episodes from internet providers, the DVD gives them the opportunity to educate themselves on the workings of the show with an array of behind-the-scenes features. On every disc is an ‘Inside Breaking Bad’ featurette where the cast and crew talk about a particular episode and elements surrounding it. These are always interesting and should not go unmissed (plus, who doesn’t want to see and hear more of Bryan Cranston and Aaron Paul). What’s more, there are some great segments on the show’s popularity, the colour scheme (which is the most fascinating) and set explorations. The deleted and alternate scenes are included but by no means necessary viewing because, as fans know, the show is crafted within a meticulous inch of perfection, and what hasn’t the made the cut hasn’t for good reason.

Breaking Bad is, without question, the best TV show on right now. The fourth season (if 2-3 hadn’t already) proves its worth and cements it as an immortal, unique series – as pure and addictive as Walt and Jesse’s cook. Go out and buy this DVD collection right now – its merit is immeasurable and whatever you pay for it, you will reap the rewards from the entertainment-factor alone.

*****

*(unless by the end of Season 5 that crown has to be re-established)

By Piers McCarthy. Also posted on Blogomatic3000

Breaking Bad Season 5: Episode 1 - 3 overview

For the past four seasons of Breaking Bad the two leads, Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul), have cooked mountainous amounts of meth, found themselves in the most dangerous situations, and been continually a stone’s throw away from being caught. There have now been five episodes aired of Season Five and many may be wondering how the show is continuing after the adrenaline-fuelled fourth season.  Beware; spoilers follow from here on in...

Season Four was perhaps the most thrilling of all seasons so far. It included a villain so smart and devious that bets on his demise were never confident ones. Even when Gustavo Fring’s semi-skeletal body walked out of an explosion, there was a brief moment where you thought, “oh no, he made it”. Obviously that was not the case and the “chicken man” finally met his match with Walt’s chemical bomb triggered at the bell-flicking fingers of his old nemesis, Hector Salamanca. In the last 40 minutes of Season Four, nails were chewed off and seat edges were firmly sat on. There was no better way to end the show than Walt’s gruff statement, “It’s over. I won”. The announcement of a fifth series came as a shock to many, though with expected elation. Confusion was expected, however, as Walt and Jesse parted ways at the end of Season Four as they had both metaphorically and literally burned their bridges toward their lab. 

The show’s creator Vince Gilligan is not a foolish man and any queries that flooded the forums of various web pages over the next steps in the story were clearly scrutinised by the man himself. Unlike something like Lost, Gilligan knows where he’s taking the programme. This is made apparent by the start of the fifth season with a flash forward to Walt on his 52^nd birthday, eating alone in a diner, with a head of hair and a scruffy beard. We have come to expect this type of chronology for Breaking Bad and the first image of Season One and Two were of things to come (in narrative terms); it always made for great TV, looking forward to that moment and wondering how it may come about. We wait with pure excitement as to why Gilligan’s Mr. White is out on his birthday shopping for a huge gun.

Returning to the present, we start off with some exposition that links the past season’s events to the current day. Hank is still surveying the ashen interior of the old lab when he comes across the camera that stalked Walt and Jesse throughout their time in the lab. For the memory of said CCTV he locates Fring’s laptop – this everyday item becoming the focus of episode one. Walt’s plan to tie up all loose ends of Fring’s death means retrieving, or destroying, that laptop. The Italian Job­-style ploy involves buying a huge magnet, driving it into the police lot and turning its dial up to 11 to yank the computer up against the evidence room wall, thus completely destroying it. He finds help from Jesse and Mike, who has now returned from hospital and, perhaps unconvincingly, teamed up with Walt and Jesse.    

  

Meanwhile, Skyler and Saul are worrying about financial and judicial issues which are not as interesting as they have been in the past few seasons, but still highlight the genius writing that interconnects these stories so meticulously. Saul is bullied by Walt about getting back into business and, in a frightening finale to the episode, you see Skyler facing a similar issue with Walt clearly putting on a new mask to pretend that they’re one happy family. Walt caressing Skyler is quite harrowing; she stands there frightened at her husband’s ability to take complete control and adjust any aspect of his indefinite personality to suit. 

Episode Two begins with a Germanic man taste-tasting a range of sauces. We can gather that this Mr Schuler is some way connected to Gus due to the fast-food condiments. His later suicide validates that thought all the more, with the police and Mike turning their attention to the co-conspirator. The ghost of Gus still lives on throughout the world of Breaking Bad and carries through to Walt and Jesse searching for the poisoned cigarette that Jesse believed Walt used to kill Broc (Jesse’s girlfriend’s son). Upon recovering it/finding where Walt cunningly placed it Jesse breaks down in tears, apologising for almost killing Walt over the matter. Long ago, Jesse’s character was to be axed yet Gilligan and co kept him on due to Paul’s acting. With Paul nervously weeping over his “mistake” it proves that the creators did right by having Aaron Paul as an integral part of the show. 

The masterminds behind the show’s choice of character and casting are never undermined and the increasingly important figure of Mike (superbly played by Jonathan Banks) serves to illuminate the point further. His cool approach to killing and organised crime is, like Walt’s Machiavellian mind-set, devilishly intriguing and entertaining. Up till now in the show, Mike has ran errands for Gus and helped Walt and Jesse out on occasion. After Schuler’s death and the assassinations of other Fring associates, Mike needs to work hard on not having any information leaked; in completing this task he has to spend a lot of money and so asks one of Schuler’s known acquaintances whether there is still Methylamine available. When the woman answers “Maybe”, Mike realises that there is still a chance to make some money. What is more, with DEA breathing down his neck and seizing his assets, he must embrace the White-Pinkman alliance and get to work with them.

This brings us nicely to Episode Three - the one where they get back to work. Gilligan inventive as ever, has the idea of setting up the lab ingeniously brought about. Saul is working hard under Walt’s demands to find a place for them to cook safely to which he brings them to various venues. The last and deciding place is a rundown warehouse that acts as a home for their equipment – the cooking is to be done in currently-fumigated houses. Every time a house is need of a bug-bomb, and fully tented for safety, the pair will carry out their cook, turn on the poison and leave no trace behind. Seeing the now-classic cooking montage brings a smile to your face instantly; Mr. White and Jesse back doing what they do best is a truly great sight to see. Their pay at the end whittles down to a few thousand, which an irritated Walt takes up with Mike. The pay has to be separated to all of Mike’s men doing what they need to do to keep things under wraps but it’s something Walt cannot rest easy on. The episode ends with Walt and Jesse discussing the cut and Jesse is thinking more optimistically with the “no owners” having to watch them. Walt, on the other hand, wonders how with all the “liberties” Victor (one of Gus’s henchmen) took that led to his death, how he and Jesse did not suffer the same fate. Certainly, by the end with Gus they were close to joining Victor but perhaps some of the positive outweighed the negative with Gus’ operation. In any case, Walt’s head is clearly devoted to the idea of business tactics and it cements the notion that Season Five will be just as cleverly crafted as the past four seasons.  

By Piers McCarthy