Frost/Nixon

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. (02/25/2009)

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. (08/29/2023)

My Oscar favourite this year. After the awful The Da Vinci Code, Ron Howard must have had a fit of creativity and I applaud him. This film is one of the best political dramas in many years. It is engagingly shot, not boringly descriptive, on the contrary, through an interesting verbal TV duel between the two leading characters, it presents the socially tense period after the biggest stain on the political culture of the history of the United States, the Watergate affair (when a large part of the American society could not stomach Ford's amnesty on Richard Nixon's transgressions). With his piercing gaze, thoughtful diction and mesmerizing confidence, Frank Langella is about ten times more devilish than Nixon himself, and I hope he has a pleasant Oscar night. (02/06/2009)

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. (04/09/2009)

With this Oscar contender I have the same problem as with all other films by Howard, technically it’s flawless, but the emotional effect on me is zero. Those two hours went by nicely, the Frost-Nixon interview was great, but I don’t feel like watching this film ever again. If I had to compare it with this year’s other big political drama (Milk), Frost/Nixon would win by a long shot because I felt that this one at least knows what it Is about, while Milk felt very empty. (01/25/2009)