Frost/Nixon

It's almost unbelievable, but Howard surprised and made a solid film. I wouldn't say that such a “ordinary”, purely conversational approach could captivate more than any of Howard's action scenes from previous works. Without sentiment, without fluff, only the most efficient and relatively gentle reconstruction of the well-known conversation between fantastically a played Nixon and an excellent Frost. The performances were phenomenal and that's what it was primarily about. (13/06/2010)

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. (10/04/2009)

A boxing match between a political champion and a loser from an entertainment slum, 4 rounds at a dazzling pace and nerve-wracking gradation. Ron Howard undoubtedly trimmed the political issue, adjusted both characters and put them into the ever popular scheme "David vs. Goliath KO in the last round"... However, I am honestly searching in vain, trying to find out when I enjoyed it more and when, behind the brilliantly elaborated scheme, I found such an exciting background and point that goes beyond mere entertainment. The Frost/Nixon duel reveals the part of politics one has to follow breathlessly, media fireworks, a powerful story and a remarkable message about the power of the television screen. I don't think this film will surpass the other Oscar favorite, in my opinion. (23/02/2009)

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)