--- title: "Argo" year: 2012 kind: "film" canonical: "https://film.one/film/argo" fi1m_id: "argo" imdb_id: "tt1024648" tmdb_id: 68734 wikidata_id: "Q59653" fi1m_score: 79 critics_score: 79 critics_reviews: 15 published: "2026-09-15" updated: "2026-09-18T08:38:37.833331+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Argo (2012) Directed by Ben Affleck · 2h 00m · MPA R · Drama, Thriller ## Identity Argo - **Canonical:** https://film.one/film/argo - **Type:** Film - **Fi1m ID:** argo - **IMDb ID:** tt1024648 - **TMDB ID:** 68734 - **Wikidata ID:** Q59653 - **Same entity:** https://www.imdb.com/title/tt1024648/, https://www.themoviedb.org/movie/68734, https://www.wikidata.org/wiki/Q59653 **Fi1m score: 79** · Critics 79 from 15 reviews *In a sentence:* Hollywood finally finds a practical use for a film nobody intends to make > Ben Affleck’s *Argo* is a tense, funny espionage thriller with an underwritten hero. Alan Arkin and John Goodman supply the life, while the rescue plot supplies enough suspense to forgive some conspicuous contrivance. ## Synopsis In 1979, six American diplomats in Iran need a way out. CIA operative Tony Mendez (Ben Affleck) proposes passing them off as a Canadian film crew scouting locations for a science-fiction film. Making the cover believable means giving the invented production a life in Hollywood, where John Chambers (John Goodman) and Lester Siegel (Alan Arkin) become involved. The scheme ties the diplomats’ chances of leaving Iran to a production that exists only as a cover story. Affleck also directs this thriller, which moves between Tehran, Washington and Hollywood. ## Review *Argo* has an unusually good excuse for putting Hollywood at the centre of an international crisis. Its CIA rescue plan requires six American diplomats in Iran to pass as a Canadian crew scouting a science-fiction film, so someone has to make the nonexistent production look credible. Ben Affleck, directing and playing operative Tony Mendez, understands how much suspense there is in asking frightened people to sell a ridiculous story. It is a good, often funny thriller, though the people involved deserve a little more attention than Chris Terrio’s screenplay gives them. The Hollywood passages are where that screenplay is most alive. Alan Arkin’s Lester Siegel and John Goodman’s John Chambers bring an appealing lack of reverence to the business of making films, and neither actor strains to make the scheme sound amusing. We laughed at their exchanges about the fake production; the delivery is so businesslike that the scheme briefly sounds sensible. Affleck lets their timing carry the scenes without making the surrounding danger seem trivial. Rodrigo Prieto’s photography gives Hollywood and Tehran distinct lighting, helping the shifts between comedy and danger register without a lengthy change of pace. Sharon Seymour’s production design makes the late-1970s setting convincing without insisting that we inspect every corner of it. Washington, Hollywood and Tehran remain easy to distinguish as the story moves among them, which matters in a film with so much organising to do. The period detail supports the actors instead of competing with them. William Goldenberg’s editing is the most persuasive part of the operation. He keeps the separate strands legible while varying the pace enough that the jokes release pressure without emptying the tense scenes of it. Alexandre Desplat’s score helps maintain that unease, although we could sometimes do with less encouragement to worry. Against espionage thrillers that depend on gunplay, *Argo* gets satisfying mileage from the possibility that somebody will fail to believe what they are being told. Affleck is less interesting in front of the camera. His restrained Mendez gives the scheme a steady centre, but restraint alone cannot supply the personal detail Terrio has left out. We understand the task much more clearly than the man, and the other performances cannot quite disguise how thinly the lead is written. Arkin and Goodman are so immediately recognisable as people with working lives that the lack becomes harder to ignore whenever the film returns to its hero. The suspense also becomes too emphatic as the film goes on. Affleck and Goldenberg push the timing hard enough for us to notice the construction, and some of the extra urgency feels imposed on an already tense situation. That is a familiar thriller habit, but it sits awkwardly with the careful, plausible handling of the earlier material. The extra insistence is unnecessary when the basic deception has already given us enough to worry about. There is still a good deal to enjoy, particularly whenever Arkin and Goodman are allowed to get on with their business. At 120 minutes, the film has space for that comedy without losing track of the rescue plan. Choose it when the evening calls for suspense, but nobody particularly wants two hours of uninterrupted misery. *Fi1m score 79, published 15 September 2026.* ## What the critics say Most critics welcome Argo as a smart, tightly controlled thriller, with praise concentrated on Ben Affleck’s direction and the balance between espionage suspense and Hollywood comedy. The reviews repeatedly single out Alan Arkin and John Goodman, whose supporting performances give the satire its bite. Period detail, visual storytelling and precise tension-building also draw approval. For most, the shifts between humour and danger work without weakening either. Reservations centre on thin characterisation, particularly the lead role, and a climax that some find contrived, followed by excessive sentiment or patriotic self-congratulation. The spread runs from enthusiastic approval to substantial misgivings, though even the cooler reviews acknowledge the suspense. Little White Lies finds the central character underwritten and the story’s irony insufficiently explored. Slant Magazine makes the sharper political objection: it admires the thriller construction but argues that the simplified conflict and portrayal of Iranians make the treatment of history irresponsible. ## Straight answers **Is Argo worth watching?** *Argo* is worth watching for anyone who wants a tense, funny espionage thriller, and we scored it 79. Alan Arkin and John Goodman supply most of the life, while the rescue plot keeps the suspense going for its 120 minutes. Ben Affleck's underwritten hero and some overemphatic late suspense keep it short of the top rank. **How long is Argo, and what is it rated?** *Argo* runs 2h 00m and is rated R by the MPA in the US. It is a drama and thriller film. **Where can I watch Argo in the US?** *Argo* is streaming on Apple TV, The Roku Channel, Amazon Prime Video and Hulu in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $5.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Argo, and is it suitable for children?** *Argo* carries a 15 certificate in the UK and an R in the US, so it is not for children. Its tension comes from the possibility that frightened people will fail to sell a ridiculous story rather than from gunplay, and the Hollywood scenes are openly comic. Teenagers of certificate age who can sit through sustained unease should be fine. **How does Argo compare to The Day of the Jackal?** *Argo* and [*The Day of the Jackal*](https://film.one/film/the-day-of-the-jackal) both make professional preparation as gripping as the danger, but Zinnemann's film is the more patient and the more consistently controlled of the two. Argo is funnier, thanks to Arkin and Goodman, and warmer, though its lead is thinly written and its suspense grows forced late on. Choose the Jackal for cold procedure, Argo for a lighter evening. **What should I watch after Argo?** After *Argo*, try [*The Day of the Jackal*](https://film.one/film/the-day-of-the-jackal) (1973, Fi1m 84): Another patient thriller that makes professional preparation as gripping as the danger. Then [*Wag the Dog*](https://film.one/film/wag-the-dog) (1997, Fi1m 77): Hollywood manufactures political reality again, with sharper cynicism and much less reassurance; and [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): For the surveillance, professional secrecy and personal detail that Mendez is missing. ### Reviews we read (24) - **Radio Times**, Damon Wise (5/5): The critic hails the film as a seamless, gripping and often funny thriller based on a true story involving the CIA, Hollywood and Iranian revolutionaries. Particular praise is given to the excellent screenplay and strong performances, especially from Alan Arkin and John Goodman. [Read](https://www.radiotimes.com/movie-guide/b-oxdceh/argo/) - **The Hollywood Reporter**, Todd McCarthy (85/100, inferred): Praises the film as a crackerjack political thriller told with intelligence, great period detail and a surprising amount of nutty humor. Singles out Affleck's confident direction and the film's unlikely Hollywood angle for making the industry crowd proud. [Read](https://www.hollywoodreporter.com/news/general-news/argo-telluride-review-367296/) - **Vulture**, David Edelstein (85/100, inferred): Describes the film as an irresistible blend of cool realism and Hollywood hokum. Singles out the potent mix of poker-faced espionage and broad showbiz satire, along with the nail-biting climax. [Read](https://www.vulture.com/2012/10/movie-review-argo-ben-affleck.html) - **IndieWire**, Anne Thompson (80/100, inferred): Calls the film a true Tehran rescue thriller, Hollywood parody, and Oscar contender. Highlights its blend of suspense, humor and strong performances as making it a major awards prospect. [Read](https://www.indiewire.com/criticism/culture/review-ben-afflecks-argo-is-true-tehran-rescue-thriller-hollywood-parody-and-oscar-contender-202117/) - **Screen Daily** (80/100, inferred): The review describes Argo as a skilfully made grown-up entertainment that combines a true story with thriller conventions to produce crowd-pleasing drama. It singles out the precision of the set pieces and confident execution while noting a lack of character depth as the main flaw. [Read](https://www.screendaily.com/argo/5046222.article) - **Time Out**, Tom Huddleston (4/5): The review calls Argo close to flawless for most of its runtime, praising its expert tension-building, witty script and meticulous late-1970s period detail. It faults the film for a contrived, multiplex-pleasing action climax and sentimental ending. [Read](https://www.timeout.com/movies/argo-1) - **Film Comment**, Jonathan Robbins (75/100, inferred): Affleck's third feature is more accomplished than his previous films, with improved visual storytelling and suspenseful sequences that unfold in real time. It offers a nuanced take on the U.S.-Iran relationship in a Hollywood style, though Affleck's self-casting as the lead spy is questionable. [Read](https://www.filmcomment.com/blog/argo-ben-affleck-review/) - **Little White Lies**, Ellen E Jones (4/3/3): The critic finds Argo an entertaining but ultimately underwhelming espionage caper that gets a little lost outside Affleck’s usual Boston milieu. Praise goes to the superb supporting cast, but complaint centres on the underwritten lead character and failure to fully exploit the story’s ironic potential. [Read](https://lwlies.com/reviews/argo) - **Slant Magazine**, Andrew Schenker (50/100, inferred): Calls the film undeniably rousing but deeply irresponsible for fanning flames around historical events. Praises its first-rate thriller construction and tension while criticizing its simplified us-versus-them narrative and portrayal of Iranians. [Read](https://www.slantmagazine.com/film/argo/) - **Empire**, Dan Jolin: Affleck delivers a smart, balanced old-school espionage thriller with a movie-biz comedy twist that is all the better for being almost entirely true. Tension and laughs complement each other effectively across the DC, Hollywood and Tehran strands, with strong supporting turns especially from Scoot McNairy. [Read](https://www.empireonline.com/movies/reviews/argo-review/) - **Evening Standard**: Affleck turns the real 'Canadian caper' into a feelgood adventure about rescuing diplomats during the 1979 Iran hostage crisis by inventing a fake sci-fi film as cover. Strong period recreation and entertaining Hollywood satire with Goodman and Arkin make it surprisingly enjoyable, though it ends in self-congratulation. [Read](https://www.standard.co.uk/culture/film/argo-cert-15-120-mins-review-8300148.html) - **Los Angeles Times**, Kenneth Turan: Affleck has crafted a smart, propulsive classic-style entertainment that deftly shifts between espionage thriller, Hollywood comedy and hostage drama while staying convincingly realistic. The director’s storytelling instinct, textured visuals and reined-in performances make it a heck of a good studio picture. [Read](https://www.latimes.com/entertainment/movies/la-xpm-2012-oct-11-la-et-mn-argo-review-20121012-story.html) - **The Guardian**, Peter Bradshaw: Affleck's third film as director is a lively, engrossing thriller that dramatises the real 1979 CIA operation to rescue six US diplomats from Iran by posing them as a Canadian film crew. The critic praises the strong cast, unshowy editing, distinctive production design and lighting across Hollywood and Tehran settings, while noting a few minor clichés and historical quibbles. [Read](https://www.theguardian.com/film/2012/nov/11/argo-affleck-review) - **The Independent**: Affleck directs and stars in an exhilarating true-story thriller about a CIA operation to extract six diplomats from Iran in 1979 by posing them as a Canadian film crew scouting a sci-fi movie. The comedic Hollywood sequences with Goodman and Arkin provide hilarious one-liners, while the final act delivers gripping suspense. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/argo-toronto-film-festival-8121409.html) - **The New Yorker**, Anthony Lane: Affleck delivers a clever, taut thriller that balances tense hostage drama with enjoyable Hollywood satire and strong supporting turns from Arkin and Goodman. The director adds unnecessary fictional chases to the climax and closes with an uncool, overly patriotic coda. [Read](https://www.newyorker.com/magazine/2012/10/15/film-within-a-film) - **Total Film**, Richard Jordan: Affleck broadens his range with a stylish, gripping hostage drama that fuses laughs and thrills with verve across Washington, Hollywood and Tehran settings. The director grows in confidence, anchoring the genre-mashing story with a likeable lead performance despite minor schmaltzy or undercooked elements. [Read](https://www.gamesradar.com/argo-review/) - **The Playlist**, The Playlist Staff (A-): The critic praises Affleck's assured direction of a suspenseful, tonally balanced thriller that mixes political intrigue, humor, and emotional stakes, with strong ensemble work and period authenticity. [Read](https://theplaylist.net/telluride-review-ben-afflecks-70s-flavored-argo-is-a-terrifically-suspenseful-entertaining-thriller-20120831/) - **NME**, Barry Nicolson (85/100, inferred): Argo is Affleck's best film yet, a rollicking espionage thriller that successfully balances gritty realism with crowd-pleasing humour and treats its subject with nuance. The ensemble cast shines, particularly Goodman and Arkin, though it could use a stronger Iranian perspective. [Read](https://www.nme.com/blogs/the-movies-blog/forget-bennifer-argo-shows-ben-affleck-is-a-legitimate-auteur-782625) - **Collider**, Matt Goldberg (B+): The critic praises the film's confident direction, sharp script, and ability to feel real despite condensing history, calling it a rare thriller that relies on brains over bullets and a quick-witted thrill ride. [Read](https://collider.com/argo-movie-review/) - **Den of Geek**, Ryan Lambie (4/5): Argo balances historical drama, comedy and thriller elements effectively, striking the right pitch between slick artifice and a truthful account of the tense situation in Iran. Affleck directs with confidence and assembles a strong supporting cast including Arkin, Goodman and Cranston. [Read](https://www.denofgeek.com/movies/argo-review/) - **Eye for Film**, Amber Wilkinson (80/100, inferred): The critic commends Affleck's tight storytelling and skill at building tension while skillfully blending comedy and thriller elements, singling out the gripping Iran-set sequences and strong performances from Arkin and Goodman. [Read](https://www.eyeforfilm.co.uk/review/argo-2012-film-review-by-amber-wilkinson) - **HeyUGuys**, Ian Gilchrist (3.5/5): The critic highlights the film's masterful suspense sequences in the escape climax and Affleck's growth as a director of intelligent, crowd-pleasing thrillers, while noting more humor than in his prior work. [Read](https://www.heyuguys.com/tiff-2012-argo-review/) - **Digital Spy**, Emma Dibdin (4): Argo blends a stirring political thriller with salty Hollywood satire, proving Affleck is a technically confident director capable of major awards contention. It nails tension, terror and gallows humour without jingoism, though Affleck's lead performance is understated to the point of being a cipher. [Read](https://www.digitalspy.com/movies/review/a435957/argo-review-ben-afflecks-high-stakes-drama-is-a-stirring-triumph/) - **The Wrap**, Leah Rozen: The critic calls it a smart, suspenseful crowd-pleaser that mixes historical context with satire and tension. Affleck's direction, especially the nail-biting finale, elevates him as a filmmaker, though his lead performance is seen as merely competent. [Read](https://www.thewrap.com/argo-review-ben-affleck-nail-biter-smart-thrill-ride-60261/) ## Details - **Director:** Ben Affleck - **Director:** Ben Affleck - **Screenplay:** Chris Terrio - **Cinematography:** Rodrigo Prieto - **Editor:** William Goldenberg - **Music:** Alexandre Desplat - **Production design:** Sharon Seymour - **Costume design:** Jacqueline West - **Producer:** Grant Heslov, George Clooney, Ben Affleck - **Cast:** Ben Affleck as Tony Mendez; Bryan Cranston as Jack O'Donnell; Alan Arkin as Lester Siegel; John Goodman as John Chambers; Victor Garber as Ken Taylor; Tate Donovan as Bob Anders; Clea DuVall as Cora Lijek; Scoot McNairy as Joe Stafford - **Runtime:** 2h 00m - **Certificate (MPA):** R - **Release (the US):** 12 October 2012 - **Genres:** Drama, Thriller - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 2012); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Winner, 2012); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 2012) - **Budget:** $44 million - **Box office:** $232 million - **Trailer:** https://www.youtube.com/watch?v=3RrtxIci4T0 ## Where to watch in the US - Apple TV: add-on, hd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Hulu: add-on, hd - Apple TV: rent $5.99, hd - Amazon Prime Video: rent $5.99, uhd - Apple TV: buy $12.99, hd - Amazon Prime Video: buy $12.99, uhd *Checked 2026-09-15.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2013: Best Original Score (nominated); Best Sound (nominated); Best Sound Editing (nominated); Best Supporting Actor (nominated); Best Film Editing (won); Best Picture (won); Best Writing, Adapted Screenplay (won) - BAFTA Film Awards 2012: Best Film (won) - Dorian Award for Film of the Year 2012: Dorian Award for Film of the Year (won) ## If you liked this - *The Day of the Jackal* (1973), Fi1m 84: Another patient thriller that makes professional preparation as gripping as the danger. — [Fi1m page](https://film.one/film/the-day-of-the-jackal.md) - *Wag the Dog* (1997), Fi1m 77: Hollywood manufactures political reality again, with sharper cynicism and much less reassurance. — [Fi1m page](https://film.one/film/wag-the-dog.md) - *The Lives of Others* (2006), Fi1m 84: For the surveillance, professional secrecy and personal detail that Mendez is missing. — [Fi1m page](https://film.one/film/the-lives-of-others.md) - *Army of Shadows* (1969): A colder account of clandestine work, where trust is difficult and indispensable. - *A Taxi Driver* (2017): A civilian becomes involved in political danger, with humour alongside the fear. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/argo