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Movie Reviews

Wreck-It Ralph
Jack Rico
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2012/11/02 at 12:00am

Reviews

Wreck-It Ralph

11.2.2012 | By |

Wreck-It Ralph

There is a difference between doing a movie based on a video game and a movie about a video game. Films like “Doom,” “Super Mario Bros,” “Resident Evil,” and “Max Payne,” are prime examples of the former, and films such as “Gamer,” “Tron,” “eXistenZ” and “WarGames,” depict the latter description. But Disney’s animated 3D film “Wreck-It Ralph” is by far the best film about a video game ever done. This comment doesn’t necessarily mean that it is the best animated movie of the year – “Frankenweenie,” “Rise of the Guardians,” “Paranorman” and “Brave” might have something to say against that, but it should be amongst the favorites at the Oscars in 2013. Nevertheless, it is visually nostalgic, sensorially exuberant, vivaciously mirthful and emotionally moving. 

 

The plot is simple and has been done before, but it is always about the execution. For decades, Ralph (voice of John C. Reilly) has been overshadowed by Fix-It Felix, Jr. (voice of Jack McBrayer), the good-guy star of their game who always gets to save the day. Tired of playing the role of a bad guy, Ralph takes matters into his own massive hands and sets off on a journey across the arcade through multiple generations of video games to prove he’s got what it takes to be a hero. On his quest, Ralph meets tough-as-nails Sergeant Calhoun (voice of Jane Lynch) from the first-person action game Hero’s Duty, and feisty misfit Vanellope von Schweetz (voice of Sarah Silverman) from the candy-coated cart-racing game Sugar Rush, who may just be his first real friend. But everything changes when a deadly enemy is unleashed, threatening the entire arcade and Vanellope herself. Ralph finally gets his chance to save the day—but can he do it in time? 

 

For anyone who has ever played video games circa 1980’s and 90’s, novice film director Rich Moore, a cartoon veteran, does a magnificent job in getting his animators to reproduce the exact Nintendo and arcade images of yesteryear. It almost felt like it was 1988 in the movie and outside of the theater. He managed to capture vast inside references and minutiae like kids placing their quarters against the front border of the arcade to gesture that they were next to play, etc. It is that attention to detail that makes a difference in the emotional cinematic experience of the spectator. 

 

The 3D is surprisingly subtle, I’d actually say too subtle for a film of this nature. Instead of seeing pixels fly out of the screen, I had to lift my glasses to make sure I wasn’t watching 2D. When the result is this uneventful, the extra investment is completely unnecessary. 

 

This is a movie hard not to enjoy. Adults will appreciate it because it’ll remind them of their youth when they would run home from school to play ‘Q*bert,’ along with all the inside references and retro cliche’s, and kids today will have fun with it because it possesses all the color, fast paced imagery and gags they come to expect from today’s animated assemblage.

 

Latinos, the highest movie going demographic in the United States, love animated movies more than any one else. They’re sure to make this movie a #1 hit at the box office!

Flight
Karen Posada
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2012/10/29 at 12:00am

Reviews

Flight

10.29.2012 | By |

Flight

The word that best describes ‘Flight’ is: intense; not only because of its beginning but ultimately because of its subject matter. This is one of the most solid movies I’ve seen all year, which although it’s a compliment at the same time it makes me think that it played everything mostly safe enough to be likeable. This two hour plus long movie delivers one of the most intense flight scenes I’ve ever experienced, making that alone a good reason to pay to see it; fortunately the rest of the film although it mainly rotates around the main character it takes us on a interesting yet depressing unexpected journey.

 

After veteran pilot Whip Whitaker (Denzel Washington) saves a malfunctioning airplane from crashing, he goes between being called a hero and placed under scrutiny when alcohol is found in his blood. With the help of his old friends Charlie (Bruce Greenwood), Harling (John Goodman) and lawyer Hugh Lang (Don Cheadle) he will try to clean up his name, while entertaining a relationship with Nicole (Kelly Reilly).

 

Director Robert Zemeckis has been focusing on PG movies for a while now, but here he certainly decided to get out of that mold with a hard rated R film. He’s made movies such as ‘Cast Away’ and ‘Forrest Gump’, which weren’t only extremely successful, but like this one, also placed a spotlight on the main character. Zemeckis doesn’t disappoint carrying the audience on a story about this Pilot’s present, without getting overly dramatic or boring. Although there’s a key element missing about his past to explain why he’s become this troubled being, which might stem from either his father’s death or his divorce and estranged relationship with his family; it is never clear.  

 

Washington has to receive some Oscar recognition for his terrific performance here, as he’s able to convey a character that could easily be disliked by those of us watching, but somehow he has us rooting for him. Goodman takes some tension out of the film in the few scenes he appears, as a hippie friend who’s the only one to understand the main character. Cheadle and Greenwood also add a good steady touch to the film, inserting some hard reality into the life of an arrogant man. A lot of the time romance seems pushed on films and although here it has a rocky kind of surreal beginning, it’s able to become more real as it progresses because a big chunk of the film would be missing without Reilly’s involvement.

 

Speaking of romance, this film encounters interracial relationships, something that Hollywood tends to avoid at times; Washington is seen with a Caucasian woman as well as Puerto Rican actress Nadine Velazquez who has quite a shocking role. The film begins with full frontal nudity; Velazquez’ role might seem minor but she carries more weight than expected. Even though she doesn’t have much of a speaking or acting role, this might be her real breakthrough into the world of Hollywood.

 

One of the things that bothered me about the film was how much God was mentioned, but seeing how it takes place in the South, to be more specific in Georgia; perhaps it’s showing the religious roots. Maybe, also because whenever there’s a disaster people try to find an explanation through what they believe in. The film touches upon the belief of “everything happens for a reason” and that some people think we don’t have control of our own lives; despite of the religious angle it takes at times, it’s quite interesting. There’s some comedy in it though not only talking about religion, but also with James Badge Dale character.

 

The film is able to give its public a complete experience, which although it’s mainly depressing and tough to watch at times, it’s entertaining. This isn’t the story of flight 1549 when pilot Chesley Sullenberg landed safely on New York’s Hudson River, saving everyone on board; it’s far from it, but it might remind you a little of it although it was written before this event. So, fasten your seatbelts and enjoy a movie that’s able to use many tools to make you leave the movie theater somewhat uplifted.   

Cloud Atlas
Jack Rico
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By

2012/10/26 at 12:00am

Reviews

Cloud Atlas

10.26.2012 | By |

Cloud Atlas

‘Cloud Atlas,’ the seemingly eternal artistic disaster, is an ambitious cinematic project that is both beautiful and mismanaged. It boasts some arresting scenes, heavyweight performances from a veteran cast led by Oscar winners Tom Hanks and Halle Berry and visually stunning cinematography, but its perpetual duration and its disjointed narrative provide for an unfulfilling experience, ergo, a few huffed yawns. For anyone paying the price of a $14 ticket, at least in New York, you are going to end up having to spend perhaps another $28 in multiple viewings just to fully “get it”.

 

According to the production notes, the movie, based on the novel by author David Mitchell, is about a single story that unfolds in multiple timelines over the span of 500 years. Characters meet and reunite from one life to the next. Born and reborn. As the consequences of their actions and choices impact one another through the past, the present and the distant future, one soul is shaped from a killer into a hero, and a single act of kindness ripples across centuries to inspire a revolution.

 

In other words, this almost 3 hour film, tells the tale of 6 stories in 6 different eras, in the past, present and future, where the characters actions have either damaging or beneficial consequences in the future. 

 

Directors Lana Wachowski, Andy Wachowski and Tom Tykwer have made a movie with an immeasurable intellectual arc that defies the popular and cultural taste of the times. Fast paced, straight lined plots with coherent plot twists is what most moviegoers want for the price of their movie ticket. When it is too much to decipher, they’re enjoyment fizzles out. You have to ask yourself, what type of moviegoer are you? Only then can you make a wise decision of whether to see this film or not.

 

David Mitchell’s book is already confusing to many readers, so I’m not surprised the adaptation is as fuzzy as it is. What most affects me is the order in which the six stories are presented. They are conveyed in a structure full of flashback and flash-forwards that can easily exasperate more than a few spectators. Some of the stories are soporiferous and the dialogue in others are down right undecipherable. Overall, you don’t know which parts are continuous or an which ones aren’t. Tack on to that, some tawdry makeup and the directors have “a hole lot of esplainin’ tu du.”

 

The saving grace of ‘Cloud Atlas’ are the magnificent performances. No matter how puzzling the film is, this movie is an actor’s dream. Hanks along with other cast members perform multiple roles, even those of Asian characters which have raised the ire of Asian organizations. Why are Jim Sturgess and James D’Arcy, caucasian British actors, playing the parts of Asians? The same happened with Latinos. There was a scene where Hugo Weaving asked a “Mexican woman” where a certain character had hidden. The “Mexicana” in question was South Korean actress Doona Bae who was under heavy latex makeup. The question we all ask is – why couldn’t we use native actors to play those roles? Obviously, this wasn’t something personally directed at Asians and Latinos. The filmmakers deliberately wanted the lead actors to resemble the diverse characters in order for the audience to know they were reincarnated. To me it worked, but it was distracting and a bit off. Nevertheless, the cast must’ve had a ball playing so many people. 

 

Halle Berry actually was given some Spanish dialogue that was subtitled with her she exchanged with Doona Bae. Berry did well and her pronounciation was clear. I get a kick out if it when non Hispanic actors speak my language. Some butcher it, but some others do it well, such as Berry.

 

Because of the way the money was raised, ‘Cloud Atlas’ is considered an independent movie, perhaps the most expensive in film history with an estimated 100 million tag. I don’t see it winning any Oscars. You can argue it might get nominated in the visuals and special effects category, but even that is a tough battle knowing “The Avengers” is the favorite. It is unfortunate but this will be an enormous and extensive flop that many involved in will be reeling from for a long period, including your time and money. 

Chasing Mavericks
Karen Posada
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By

2012/10/26 at 12:00am

Reviews

Chasing Mavericks

10.26.2012 | By |

Chasing Mavericks

‘Chasing Mavericks’ is packed with life lessons and inspirational quotes that are glued to this true life story making it a little too “fairy-tale” like and similar to most sport films. There are fantastic shots of the ocean on the surface as well as below and of these massive waves that are really astounding. The story isn’t bad the problem is that it has too many clichés attached to it that make it your typical PG drama film and don’t let it stand out from the rest. The film feels like a lazy project that decided to lay back and not fulfill its full potential.

 

This movie is based on the life of a man well known in the surfing world Jay Moriarty played by Jonny Weston, a guy that since he was a kid wanted to do nothing else but surf. With the help of surfing legend Frosty (Gerard Butler) he learns all the necessary things to be able to tackle and survive the world’s biggest waves off the coast of Santa Cruz known as Mavericks.

 

The film has a slow pace showing how Jay’s passion began as a child as a way of escaping a broken home, where he’s basically his own parent. Similarly surfing is also Frosty’s escape, although the film doesn’t go deep into it, as Jay is the focus. The first part is sweet and innocent showing how a child that didn’t let anything stop him grew up to be the same kind of man. It finds its ground once Jay reaches adolescence; the problem is that this is when most of the clichés begin. Such as his loneliness, bullying, puppy love, sappiness and some unnecessary drama.

 

There are a couple of scenes that were inserted to create drama that feels pushed and overreacted, in just the same way there are some dramatic scenes that exist to create sympathy for the characters and although there’s one in particular that gets to you some others are too sappy and kind of silly. I was annoyed at some of the cuts between scenes, as the screen changed suddenly from a dark frame into a really bright one which was an abrupt undesired changed.

 

The acting gives as much as the script asks it to; Butler’s character is too much like Yoda with all his life philosophies and teachings making the relationship between the two main characters unnatural and pushed. At some point in the film there are too many stories taking place making it feels unfulfilled, as we are not given insight into many of them and some are left with loose ends, while others transform magically without any explanation. Also, unfortunately for us girls there are almost no shirtless scenes.

 

Undoubtedly the best moments in the film take place in the water, seeing these massive waves and humans that actually ride them is thrilling. Knowing what’s at risk thanks to all the research shown on screen makes it the more exciting. The film spits out plenty of life lessons and philosophies which most are easily forgotten, the only one that resonated with me is that we need to inspire ourselves to reach our goals even if it means pushing the limits, whilst being careful and conscientious.

Silent Hill: Revelation 3D
Karen Posada
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By

2012/10/24 at 12:00am

Reviews

Silent Hill: Revelation 3D

10.24.2012 | By |

Silent Hill: Revelation 3D

It is so hard to find a good horror flick nowadays and unfortunately ‘Silent Hill: Revelation 3D’ doesn’t change the norm. There are so many things wrong with this movie that it’s easier to speak about the good it has, it certainly has cool looking monsters and some of the 3D effects pop out beautifully. There is nothing scary or startling about this film, it even gets boring; sure the storyline could be a little spooky but it in no way will traumatize you despite of some of its strange scenarios. The film is based on the videogame and that’s easily perceived, as many of the scenes are taken straight out of a videogame; my opinion is that they should just have left it as a videogame as it is only then that it’s actually entertaining.

 

This is a sequel to ‘Silent Hill’ from 2006; here Heather Mason (Adelaide Clemens) and her father Harry (Sean Bean) are starting yet a new life in a new town. On her 18th birthday her nightmares come true when her father disappears and she discovers who she really is; with the help of Vincent (Kit Harington) she enters the world of Silent Hill, which she might not be able to escape.

 

The scenes in Silent Hill where there’s ash falling from the sky really pop out and create a beautiful peaceful, yet eerie effect, there’s also a scene with faceless nurses that plays out so artistically in a form of “death” dance, which I really enjoyed. Interestingly enough in our interview Adelaide confirmed that the women in this scene were in fact dancers and contortionists and it was hard to shoot since they couldn’t see much with the masks. The monsters are cool looking, from pyramid head to a lady that has swords as hands, seeing them battle each other is pretty cool and very videogame like. There’s also a scene of a lady that turns into a plastic mannequin, which it’s well executed.  

 

This movie is just like a videogame in every way, from the music to the lack of dialogue to some of the sequences. There’s not a lot of dialogue and the bits of it is just awkward and stiff. At no point do you feel scared or anxious for the main character, as she just seems to be going through the motions, when she’s in the creepy town of Silent Hill there’s nothing scary about it. There’s no sense of urgency as Heather passes through every obstacle so easily.The script itself gets extremely complicated, ridiculous and boring, I can see it working well in a videogame atmosphere but in the big screen it tries to be so over the top that it looses the bit of charm it has.

 

It pained me to see Carrie-Anne Moss be a part of this because here she just makes me laugh unintentionally by her ridiculous role. This film doesn’t produce any scary scenes at all; it should be ashamed to call itself a horror movie. The only thing that this movie incited me to do is to go play the videogame, as I can clearly see how all of these different scenarios and monsters would create an awesome game experience.

Alex Cross
Jack Rico
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2012/10/19 at 12:00am

Reviews

Alex Cross

10.19.2012 | By |

Alex Cross

‘Alex Cross’ is one of the worst films of 2012. Between the stiff and unconvincing acting by most of the pedestrian B cast (in particular some of the villains), the second rate tacky special effects and the embarrassingly laughable delivery of the dialogue, one has to really question who is the person that gives the okay for these films to be released?

 

Based on the worldwide best-selling novels by James Patterson, this prequel to ‘Kiss the Girls’ (1997) and ‘Along Came a Spider’ (2001) starring Morgan Freeman, has homicide detective/psychologist Alex Cross (Tyler Perry) meeting his match in a serial killer (Matthew Fox). The two face off in a high-stakes game of cat and mouse, but when the mission gets personal, Cross is pushed to the edge of his moral and psychological limits.

 

Tyler Perry, mostly known for the Madea series of comedy dramas, is not an action star, at least not the conventional one that Hollywood is used manufacturing. To the naked eye, most would question and ponder why he’s the lead on this action thriller. Truth be told, James Patterson himself said to Perry that he resembles the fictional character the most. Now I know why Perry thought he could pull this off. Nevertheless, Perry has a massive following that makes him a valuable commodity to producers who are counting on them to generate an abundance of cash at the box office. It’s an experiment/risk that could end up being very profitable, but not very exalted by critics and those outside of his devout supporters. 

 

To spend money on ‘Alex Cross’ is just throwing it away. The thrills are minimal to nonexistent, the cast as a whole isn’t very good (except for Matthew Fox who if he had toned it down a notch would have been memorable and Long Island guy Ed Burns who has mastered the Irish wise-cracking cop down to a science) and everything else takes itself WAY too seriously for its own good. There’s nothing in this movie that can garner a sequel, except high box office numbers. Can Tyler Perry do it? He just might and I think I’ll be disintegrating it when the time comes again.

Avatar 3D
Pau Brunet
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By

2012/10/16 at 12:00am

DVD ReviewsReviews

Avatar 3D

10.16.2012 | By |

 

Hace once años, el Titanic de James Cameron zarpó diciendo adiós al gran espectáculo de Hollywood. La epopeya de aquel barco fue como una despedida del cartón y piedra. En unos años, Peter Jackson unió por un momento el cartón de los decorados de antaño con la era digital. Las prótesis se mezclaban con las telas azules. Este universo, ha seguido mezclándose aunque cada vez con menos brillo – Robert Zemeckis ha ido dándose con la misma piedra desde hace seis años-, dejándose seducir más por lo azul que por lo real. Pero once años después de este barco, Cameron da por fin la gran bienvenida a esta era digital y del 3D. Avatar es un avatar del Hollywood de antes con el de ahora. El director le ha dado al cine de los grandes espectáculos pirotécnicos, un traje nuevo, hecho a medida y donde convergen estilos, ideas y nuevas tecnologías, todo ello envuelto en un tono muy cerca de ‘Dances with Wolves‘.

 

Avatar cuenta una historia clásica de un soldado en tierras extrañas y como por accidente termina involucrándose en la vida de los habitantes de ese lugar. Como en Dances with Wolves o The New World (la historia de Pocahontas contada por Terrence Malick), Avatar es un relato sobre las culturas extranjeras y desconocidas por el mundo occidental. Sabiendo esto, Cameron no trata de dar a la historia ningún matiz novedoso –algo que es criticable, y por el que lo criticará más de uno-, sino que centra su atención en el nuevo mundo que descubre su personaje principal. Es en este punto donde la película funciona a toda máquina, la curiosidad del personaje de Sam Worthington es el motor de la historia, y Cameron logra que sintamos lo que siente él. Los hermosos lugares, los matices de los personajes y la lograda ambientación son todo un triunfo en mayúsculas para su director. Lo que no ha logrado Zemeckis en tres películas, Cameron lo logra en una. Por primera vez, la tecnología 3D se justifica para entender todo lo que sucede a nuestro alrededor.

 

En estos dos años de intentos tridimensionales, Avatar es la reina absoluta al lograr imprimir imágenes inolvidables, con texturas impresionantes, y llena el vacío que hay entre la pantalla y los ojos del espectador. Cameron construye un nuevo mundo entero y ese es su acierto, sobrepasando los defectos de un film algo largo y pesado en su primer acto, y falto de originalidad. De estos defectos también destaca una música de James Horner que no acaba entrar en el oído como hacia en Titanic o Legends of the Fall, y la canción final es casi un despropósito artístico. Una pecata minuta que se olvida rápido gracias a la presencia de Sigourney Weaver y todos los guiños a Aliens.

 

A modo personal, Avatar me recuerda a esas películas de antes – y que ahora sólo saben hacer los señores de Pixar – que te invitaban a soñar y entender que Hollywood es la fábrica de sueños.

 

Sinister
Jack Rico
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By

2012/10/13 at 12:00am

Reviews

Sinister

10.13.2012 | By |

Sinister

With fists clenched from the very creepy first frame of the movie, ‘Sinister’ delivers a frightening and horrific cinematic experience that will leave you shaken to the core. It’s a demented movie with a truly deranged killer at its nucleus. To say it’s disturbing or perturbing is right along with what director Scott Derrickson wants you to feel and boy does he achieve it. There are the obvious dumb decision-making by our lead character Ethan Hawke, but between the eery music, the cold and dark cinematography, and the well directed suspenseful pace, Sinister is the best horror movie of 2012. 

 

An original story, the fictitious plot takes place ten years ago, when true crime writer Ellison Oswald (Ethan Hawke) made his reputation with a best-selling account of a notorious murder. Now, desperate to replicate the critical and financial success of his first book, he moves his loyal wife (Juliet Rylance), over-anxious son (Mark Hall D’Addario) and artistic daughter (Clare Foley) into a home where a suburban family was brutally executed and a child disappeared, hoping to find inspiration in the crime scene. Instead he discovers a mysterious box containing Super 8 footage of the murders—plus several more equally gruesome homicides. As he watches the carnage unfold on film, Ellison realizes he has stumbled onto evidence of a decades-long killing spree. But rather than going to the local authorities, he keeps the movies to himself, hoping to publish another acclaimed book based on the crimes. As Ellison starts to piece together the mind-bending truth about the crimes and the murderer, unseen intruders and inexplicable goings-on disrupt his once peaceful household. Slowly, he begins to realize that his ambition has placed him and his family in the path of an ancient and bloodthirsty adversary who has marked them as his next victims.

 

The reason this movie works compared to missed opportunities like ‘Intruders’ from Juan Carlos Fresnadillo or ‘House at the End of the Street,’ is because it doesn’t live in an inauthentic world. Director Scott Derrickson dropped us in a truly sinister universe that looks genuinely real. The pace is slow allowing us to peel of the layers of horror scene by scene, which only makes our experience more miserable, to the point of exhaustion. The murder sequences Derrickson displays are played out in long, extensive and excruciating fashion. It feels like we are actually watching real murders transpire in real-time (trust me, it isn’t a pleasant way to spend 110 minutes).

 

Ethan Hawke is magnificent in this movie and has been delivering some gripping performances as of late (Daybreakers, Brooklyn’s Finest). His character is obsessed with fame and down right disregards his family altogether. His motivation for success makes you dislike him as much as the chilling murderer. Oddly enough, there is no one to really root for in the film and that in itself gives off a claustrophobic feel. 

 

If you’re expecting funny killings like the ones Freddy Krueger had us laughing at in ‘Nightmare on Elm Street,’ then you’re going to the wrong movie. ‘Sinister’ is for men, not boys. You have to bring your cojones to this one to sustain the endurance of tension-filled suffering. 

Here Comes the Boom
Karen Posada
0

By

2012/10/12 at 12:00am

Reviews

Here Comes the Boom

10.12.2012 | By |

Here Comes the Boom

Surprisingly ‘Here Comes the Boom‘ has a solid enough storyline to keep you entertained with laughs and tough fight scenes that will make you cringe. Slapstick humor really is what drives the film, but the combination of that with the fights gives it enough balance to make it fun. There are plenty of typical comedy movie skits and characters we’ve seen in other films, so there are some predictable situations, which doesn’t separate it from the rest. The thing that pushed me to like this movie besides the comedy was the overall message of the need for a community to work together to inspire our youth.

 

Biology high-school teacher, Scott Voss (Kevin James) used to be a good teacher at the beginning of his career but now he’s not the best of teachers as he’s given up on his students and has no desire to change his ways, until he’s inspired to become a mixed martial arts fighter to help with his school’s music budget to save his colleague Marty Streb (Henry Winkler) keep his job.

 

James not only looks physically ready for this role but perseveres inspiring the audience to fight for what they want. Salma Hayek plays a high-school nurse as well as James’ long time crush, she isn’t made up here in like most of her movies, she’s mainly shown with just a hint of make up and although she’s still eye candy she’s the voice of reason in the film as she pushes Scott to be better; these two give a refreshing love story not typical in comedies. Henry Winkler is adorable and is the heart of the movie, since his character portrays everything the movie represents. I have to mention Charice because she also plays a small role in the movie’s inspiring message; this girl has such an amazing voice and in a way represents some of the challenges immigrant children go through. 

There are plenty of scenes in the movie that will make you laugh out loud, in particular Scott’s second fight and although the movie crosses the line at some points, it is all mainly in good fun. The fights get more intense as the film develops, you will feel pain for James’ character. There are also plenty of cheesy moments as well as easy unrealistic solutions. At times it seems to loose focus as it tries to handle too many stories at once, which messes with the flow of the film.

 

This is just a good time at the movies with laughs, moments that will make you say “ouch” and a sprinkle of motivation. Some of the images are a little too violent for younger kids; it is more appropriate for children 13 and up. So grab the popcorn and enjoy a comedy that has some hard to watch fights with a positive message.   

Argo
Karen Posada
0

By

2012/10/11 at 12:00am

Reviews

Argo

10.11.2012 | By |

Argo

‘Argo’ is a thrilling, nail-biting film that will keep you fully entertained with its captivating storyline and nearly perfect production. This political thriller is able to captivate the audience, by injecting dry humor, some mild action and focusing on the task at hand without getting too politically confusing. I think director Ben Affleck did a fantastic job giving the film the exact feel for the time it is set in, late70’s early 80’s; everything from the shots, to the outfits, cars, colors and even music, blend in masterfully to deliver what I would call one of the best dramas of the year.

 

Based on a true story, when the Iranian revolution reached its peak six Americans escape an attack on the American Embassyn in Tehran and take shelter at the home of Ken Taylor (Victor Garber), the Canadian Ambassador’s house. CIA exfiltration specialist Tony Mendez (Ben Affleck) comes up with a wacky plan to try to get the Americans back home. With the help and support of Jack O’Donnell (Bryan Cranston), Lester Siegel (Alan Arkin) and John Chambers (John Goodman), he ventures into a mission that made history.

 

The film gives a concise background on some of the facts of the story without getting too profound or complicated; it explains it all in a very original way. There are different uses of camera work, from areal shots to hand held cameras, and although it gets dizzying at points it makes it all the more believable and real, as the shots look like the original revolt. This movie succeeds in getting the audience inside the story and even though it doesn’t try hard at making a connection with the characters, since it only gives vital information, it manages to create a bond regardless.

 

I can’t recall the last time I was so tense watching a movie, it is so nerve wracking at times that you easily feel scared and nervous for the characters, because that’s how engrossing the story gets. Affleck effortlessly portrays the most levelheaded character in the film, being able to control every situation without seeming mechanical. He gives a solid performance even using body language, to explain what he’s feeling or thinking. I’m happy to say that Cranston finally was given a character worthy of his acting skills, something I’ve only had the opportunity of seeing in his TV show ‘Breaking Bad’; here he’s the actor I’ve come to admire. Arkin and Goodman give us the comedic relief that helps with the tension created by other parts of the film and it’s done in the subtlest way without taking importance from the rest of the movie. Part of this comedy also comes from the film mocking governmental entities as well as even the director himself. The locations, sets, wardrobes, cars, etc., help give the film authenticity, which is another key element to its success.

 

There are some scenes that add to the already felt tension of the film, which make them a little too fictional or planned which can take away a bit of the realistic aim of the film. Also, although I think it works that we don’t get much of an inside on the lives of the characters, except for vital pieces and very few personal conversations; a little more could have been given to add to the connection the audience has with the six Americans in Iran as well as with Affleck’s character.

 

This movie has the ability to literally keep you at the edge of your seat, providing some of the most intense, nail-biting scenes I’ve ever experienced in a movie theater. Scriptwriter Chris Terrio gave such a solid compact story that Affleck was able to create a class A film, with some help from producer Grant Heslov and George Clooney. You truly feel like a part of the film, so much so that at points you want to elbow some of the characters for their actions. The film gives an inside look into a story that was classified until 1997 and that many people might remember living it. Having been part of history some may already know the outcome of the film, either way it’s all about the top-secret intense journey it takes us on. 

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