Frost/Nixon

Reflecting on one of the black shadows of American history while thoroughly dissecting diverse human characters, this two-hour conversation is propelled by Howard's reliably craftsman-like direction and the amazing acting performance by everyone (!) involved. Yet despite the exceptionalism of the supporting parts, it is ultimately the excellent Martin Sheen and his crackpot 1970s metrosexual who falls flat on his face, and especially (I’m not afraid to use the word) the brilliant Frank Langella, who do in fact carry the film. The way Langella inhabited the character of Richard Nixon - a tall but stooped man who has been whittled to the bone by two years of affairs, yet still has that dark sparkle in his eyes and the sharp tongue with which he can fend off opponents - reminds me in many ways of oil tycoon D. D. Lewis. The fact that Langella was politically overlooked in the Oscar race in favor of the homosexual Milk made me jump out of my chair. And finally, there’s Ron Howard - the religious conspiracy screaming is forgiven because the visual concept (excellent editing and cinematography) and overall swing bring the film to the absolute peak. Along with Stone’s W., this is one of the most interesting "political" films of recent times (maybe even years). (26/01/2009)

In this film, everything works like a well-oiled Swiss watch of the highest quality. Both of the actors in the titular lead roles deliver excellent performances in a dialogue duel focusing on a detailed portrayal of their characters, shot and edited in the most appealing way possible. This makes Frost/Nixon completely unique and it’s a testimony to Ron Howard’s extraordinary ability to render difficult subject matter in a way that pleases even the most consumerist viewer. No matter how good they may be, films of this kind are usually protracted, intimate and gloomy, offering an intellectual exercise rather than emotion or attractive visuals. Together with Hans Zimmer’s music and the ferocious chemistry (but also humility and respect) between the two rivals played by Michael Sheen and Frank Langella, the visuals of Frost/Nixon make this a juicy, sexy film delicacy. (25/02/2009)

Just the idea of making this like a boxing match with a “former world champion vs. a talent who remained in the limelight" is excellent. On the one hand it is a fight for atonement/forgiveness and on the other for an admission/apology. Sheen acts so well and he doesn’t let the phenomenal Langella steal the movie. But still, it has its faults. It is still just a regular Howard movie. In other words, a simplified fairytale, this time political. But the list of factual sins is just too long (and not just what the IMDb reviewers mentioned). Primarily Nixon’s tirade during his nighttime phone call, this scene is like comic book movies where the most villainous ever villain reveals his complete plan (including the weaker bits) for conquering the world. I understand that from a movie point of view this is essential and needed, but then the result is unavoidably fiction which has nothing to do with reality. I personally think that to leave out that phone call and stay with the real state of affairs would have been better. It would at least leave room for viewer imagination about whether Frost really got Nixon down on the floor on his own or whether this wasn’t just another brilliant move by Nixon, letting him leave the scene maintain a little self-respect and, in a way, fame. (09/04/2009)

An enthralling conversational drama that goes from a simple interview to an event with potential unexpected consequences. The acting performances are at times breathtaking and Langella is utterly convincing as Nixon. And Howard knows exactly what he's doing, thickening the atmosphere immediately during the first tape when Nixon takes Frost down, and escalating it twice, first on the phone and then during the last 20 percent of the movie. I don't understand why he did the Langdon series when he is much better at this sort of thing. Plus, Zimmer's music is once again top notch. (29/04/2009)

Of the films with Peter Morgan's screenwriting signature that I've seen so far, Frost/Nixon is unfortunately one of the weaker ones. On the one hand, there are perfect performances by Frank Langella, Michael Sheen, Sam Rockwell, and Kevin Bacon, and a neat documentary atmosphere. On the other hand, the characters are pretty much useless, including (unfortunately) Rebecca Hall, whose purpose I didn't fully understand, and some off-camera scenes are barely believable, for example, the late-night phone call. I guess the original stage play is more concentrated, and thus probably better. (29/08/2023)