I realize that the appeal of time machines is typically built around the idea of preventing national catastrophes. Killing Hitler, stopping 9-11, making it so Lucas cannot create the Special Editions - but I think a real joy would be to go back to 2003 and tell the world that Ben Affleck would become an Oscar level director.

With 2007’s gut-wrenching Gone Baby Gone and 2010’s Boston-based heist caper The Town, Ben Affleck has already created two amazing films. And now with his latest release, Argo there is absolutely no denying it - Affleck has become one of Hollywood’s best directors.

Based on a story so surreal that it needs an on-screen text disclaimer that it is undeniably “Based On A True Story”, Argo is set during the 1980 Iran Hostage Crisis. In a time of international turmoil, US and Iran relations were at an all-time low, and during a protest, angered Iranians stormed the US Embassy, taking 52 Americans hostage. During the siege, six embassy employees were able to escape to the home of the head of the Canadian embassy. The CIA became aware of this, and decided to plan an extraction, to get these six Americans home. However - finding the best way of retrieving them became a problem. The standard covers were blown - they couldn’t be English teachers, as English schools had been closed for months. They couldn’t be there to teach agriculture, as it was Winter in Iran. What could they do? In an inspired moment, CIA agent Tony Mendez (played here by Ben Affleck) looks to the sci-fi movies of the 1970’s and finds inspiration - what if they were all Canadian filmmakers, scouting desert locations to double as a far off land. But the alibi had to be air tight, so the fake movie had to start a very real production. The film, titled Argo, becomes the project of Mendez, Oscar winning makeup effects director John Chambers (John Goodman) and a known film producer (played by Alan Arkin, acting as a composite of a number of real Hollywood bigwigs). Ads are taken out in the trade papers, artwork and storyboards are created, costumes are designed, and there’s even a huge press event to announce the film - everything to help the alibi, and help Mendez extract the Americans.

The film does an excellent job of balancing wry dialogue and humor with an almost indescribable feel of tension. From the first shot of the film (following an excellent 1970’s homage in the logo sequence), you are met with the two sides of the movie - a mix of Hollywood film-making  and dark, dramatic realism. A beautiful sequence of storyboards explains the history of the American history with Iran, and cuts harshly into archival footage of the revolution in the streets. We’re thrown just as quickly into the siege on the American embassy, and Affleck never lets up, keeping the tension and the pace high, almost at a claustrophobia inducing level. Brilliant editing is in play here, and it becomes a staple of the film, including a sequence juxtaposing the Argo press conference with the harsh statements being made in the media, both by Iran and the United States. While the big time nature of Hollywood is played for laughs, the movie never falls into full fledged satire. The goal is for you as the audience to understand the outlandish nature of the task, but remain aware of the underlining anxiety. The ending sequence is just as strong, as the attempt to get the Americans out keeps your heart pulsing through every step. You never get the Ocean’s 11 feeling, where everything is in the bag - you know that each phase will be a fight, and you’re right there with them.

Much has been said about Argo as being a “70’s Film”. While the 1980 period costuming and decoration may be one of the reasons why, I think it’s also due to the strong casting. There really isn’t a star in the bunch, just top to bottom character actors, all of whom give themselves to their roles. Affleck is fantastic as Tony Mendez, a man who clearly is the best at what he does, while he struggles with the rest of life. His chief at the CIA is played perfectly by Bryan Cranston, who walks away with some of the films crankiest and most hilarious lines. Goodman and Arkin are a joy throughout their scenes, and I have no doubt they have some beautiful exchanges on the cutting room floor. It’s a shame then to say that the only non-standouts in the film were the hostages. While peppered with some great character actors in their own right (Tate Donovan, a barely recognizable Clea DuVull), they felt more like props than fully fleshed characters. It was almost as if they were all painted with the same brush - they all want out, they’re all skeptical of Mendez, but they will proceed with the plan (minus the one guy who puts up a bit more of a fight). I suppose that helps us keep the story flowing, as opposed to getting hung up on six different viewpoints, but in retrospect, they felt a bit wasted.

That said, there really isn’t much else bad that I can say about the movie. Argo is one of the best movies I’ve seen this year, and honestly, one of the most tense and engaging drama’s I’ve ever seen. See it in theaters now, and I have little doubt it will be getting more than one Oscar nomination this winter.

Argo is in theaters now.