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Note: originally written for my film review website - ShaunMunro.co.uk. Thanks :)
~~~
Frost/Nixon, Ron Howard’s first return to the camera since the extremely divisive The Da Vinci Code, is a fascinating film – in the slew of Oscar-baiting pictures emerging, Frost/Nixon is a genuinely exhilarating battle-of-wits between British reporter David Frost and President Richard Nixon, and is certain to earn several nods from the Academy.
Even with his previous successes (namely Apollo 13 and Cinderella Man), Howard’s mastery of the film medium has never been this pronounced – Howard presents much of the film in a documentary format, yet intercuts this between a diegetic document of the Frost/Nixon interview tapes, and the turmoil that bookends them also.
Moreover, the lengths to which Ron Howard has attempted to immerse the viewer is stultifying – an image of Frank Langella replicating Nixon’s exit from the White House is particularly resonant, especially when Howard also endeavours to seamlessly combine this with “real” footage as best possible (such as actual footage of Gerald Ford).
Frost/Nixon succeeds not merely in championing helmer Howard, however – this is an impeccably crafted film that is a robust collaboration, with its austere direction, deep characterisation and nuanced script, all of which turn on the axes of two outstanding performances – Michael Sheen as David Frost, and Frank Langella as Richard Nixon.
Scribe Peter Morgan (who also wrote the original play) presents Frost and Nixon as men from not only different countries, but different words, yet simultaneously paints them as sharing a die-cast sense of slyness and humour. Both men prefer to “keep busy”, and are almost drawn to one another. Moreover, both are seemingly contemptible characters in their own means – Frost is an aloof, air-headed playboy spurred by money, whilst Nixon is an unconvicted criminal, also spurred by money – yet Sheen’s Frost possesses such a suave, infectious charm, and Langella’s Nixon, such a delicious air of dour wit, that it is difficult not to find something to like about these characters.
Howard’s carefully-picked supporting cast also dazzles, particularly Sam Rockwell as the impassioned liberal investigator James Reston Jr., who wishes to give Nixon the trial he never had. Kevin Bacon also gets some much-needed upper-tier elevation as Nixon’s aide Jack Brennan, and plays the uber-conservative straight-man to perfection.
Much of the film’s first half is like a promo show for a boxing match – it is full of vignette and ideological opposition, and a sense of discomfort quietly percolates beneath the surface. As the moment of truth edges closer, Frost and Nixon even each receive their own flashy entrances to the vocal, uproarious crowds - Howard’s sense of spectacle (and more to the point, believable spectacle) is immense.
The film’s second half juxtaposes the tapes themselves with post-fight talking head commentary, and whilst it may sound procedural, it is an utterly compelling mix – Howard knows exactly where and when to cut between his A-roll and B-roll.
Once proceedings begin, Frost/Nixon is an intense sparring match between the two figureheads, as the respective members of the “ring crew” observe from behind monitors, recoiling or cheering as each figurative punch is delivered. Between each of the four “rounds” of recording, the teams converge and advise their competitor on how to proceed, and it is these interludes which illustrate just how much personal stock each side has invested in their crusade, to the point where it seems to subsume the human element of the battle, noted no better than when Frost invites his cohorts to “celebrate”, to which they are utterly dumbfounded, before he protests that it is his birthday.
The unqualified delight of the film is the build up to the final meeting between Frost and Nixon – in a phone call between the two, Nixon taunts and goads Frost, ratcheting the tension levels five-fold. Through most of the film, Nixon is the confident adversary, whilst Frost is the monetarily-invested, outfoxed underdog, and at game time, all of the muck-raking and mind games build to a wonderfully satisfying third act climax.
Ultimately, Frost/Nixon is a sensitive portrait of a man weathered by his myriad political foibles, yet the film never gets away from the heart of the matter, that it seeks to further indict Nixon’s sheer abuse of his position as the President of the United States. Frost/Nixon is an utterly compelling work, combining Academy-worthy writing with Academy-worthy performances (namely from Langella, but Sheen is outstanding also), and Howard’s directorial efforts are arguably the greatest that he has ever produced. Frost/Nixon is one of the best films of the year, and deserves attention whether you are interested in American politics, or simply interested in film.
9/10
Thanks for reading,
Reefer
~~~
Frost/Nixon, Ron Howard’s first return to the camera since the extremely divisive The Da Vinci Code, is a fascinating film – in the slew of Oscar-baiting pictures emerging, Frost/Nixon is a genuinely exhilarating battle-of-wits between British reporter David Frost and President Richard Nixon, and is certain to earn several nods from the Academy.
Even with his previous successes (namely Apollo 13 and Cinderella Man), Howard’s mastery of the film medium has never been this pronounced – Howard presents much of the film in a documentary format, yet intercuts this between a diegetic document of the Frost/Nixon interview tapes, and the turmoil that bookends them also.
Moreover, the lengths to which Ron Howard has attempted to immerse the viewer is stultifying – an image of Frank Langella replicating Nixon’s exit from the White House is particularly resonant, especially when Howard also endeavours to seamlessly combine this with “real” footage as best possible (such as actual footage of Gerald Ford).
Frost/Nixon succeeds not merely in championing helmer Howard, however – this is an impeccably crafted film that is a robust collaboration, with its austere direction, deep characterisation and nuanced script, all of which turn on the axes of two outstanding performances – Michael Sheen as David Frost, and Frank Langella as Richard Nixon.
Scribe Peter Morgan (who also wrote the original play) presents Frost and Nixon as men from not only different countries, but different words, yet simultaneously paints them as sharing a die-cast sense of slyness and humour. Both men prefer to “keep busy”, and are almost drawn to one another. Moreover, both are seemingly contemptible characters in their own means – Frost is an aloof, air-headed playboy spurred by money, whilst Nixon is an unconvicted criminal, also spurred by money – yet Sheen’s Frost possesses such a suave, infectious charm, and Langella’s Nixon, such a delicious air of dour wit, that it is difficult not to find something to like about these characters.
Howard’s carefully-picked supporting cast also dazzles, particularly Sam Rockwell as the impassioned liberal investigator James Reston Jr., who wishes to give Nixon the trial he never had. Kevin Bacon also gets some much-needed upper-tier elevation as Nixon’s aide Jack Brennan, and plays the uber-conservative straight-man to perfection.
Much of the film’s first half is like a promo show for a boxing match – it is full of vignette and ideological opposition, and a sense of discomfort quietly percolates beneath the surface. As the moment of truth edges closer, Frost and Nixon even each receive their own flashy entrances to the vocal, uproarious crowds - Howard’s sense of spectacle (and more to the point, believable spectacle) is immense.
The film’s second half juxtaposes the tapes themselves with post-fight talking head commentary, and whilst it may sound procedural, it is an utterly compelling mix – Howard knows exactly where and when to cut between his A-roll and B-roll.
Once proceedings begin, Frost/Nixon is an intense sparring match between the two figureheads, as the respective members of the “ring crew” observe from behind monitors, recoiling or cheering as each figurative punch is delivered. Between each of the four “rounds” of recording, the teams converge and advise their competitor on how to proceed, and it is these interludes which illustrate just how much personal stock each side has invested in their crusade, to the point where it seems to subsume the human element of the battle, noted no better than when Frost invites his cohorts to “celebrate”, to which they are utterly dumbfounded, before he protests that it is his birthday.
The unqualified delight of the film is the build up to the final meeting between Frost and Nixon – in a phone call between the two, Nixon taunts and goads Frost, ratcheting the tension levels five-fold. Through most of the film, Nixon is the confident adversary, whilst Frost is the monetarily-invested, outfoxed underdog, and at game time, all of the muck-raking and mind games build to a wonderfully satisfying third act climax.
Ultimately, Frost/Nixon is a sensitive portrait of a man weathered by his myriad political foibles, yet the film never gets away from the heart of the matter, that it seeks to further indict Nixon’s sheer abuse of his position as the President of the United States. Frost/Nixon is an utterly compelling work, combining Academy-worthy writing with Academy-worthy performances (namely from Langella, but Sheen is outstanding also), and Howard’s directorial efforts are arguably the greatest that he has ever produced. Frost/Nixon is one of the best films of the year, and deserves attention whether you are interested in American politics, or simply interested in film.
9/10
Thanks for reading,
Reefer
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Note: originally written for my film review website - ShaunMunro.co.uk. Thanks :)
~~~
Frost/Nixon, Ron Howard’s first return to the camera since the extremely divisive The Da Vinci Code, is a fascinating film – in the slew of Oscar-baiting pictures emerging, Frost/Nixon is a genuinely exhilarating battle-of-wits between British reporter David Frost and President Richard Nixon, and is certain to earn several nods from the Academy.
Even with his previous successes (namely Apollo 13 and Cinderella Man), Howard’s mastery of the film medium has never been this pronounced – Howard presents much of the film in a documentary format, yet intercuts this between a diegetic document of the Frost/Nixon interview tapes, and the turmoil that bookends them also.
Moreover, the lengths to which Ron Howard has attempted to immerse the viewer is stultifying – an image of Frank Langella replicating Nixon’s exit from the White House is particularly resonant, especially when Howard also endeavours to seamlessly combine this with “real” footage as best possible (such as actual footage of Gerald Ford).
Frost/Nixon succeeds not merely in championing helmer Howard, however – this is an impeccably crafted film that is a robust collaboration, with its austere direction, deep characterisation and nuanced script, all of which turn on the axes of two outstanding performances – Michael Sheen as David Frost, and Frank Langella as Richard Nixon.
Scribe Peter Morgan (who also wrote the original play) presents Frost and Nixon as men from not only different countries, but different words, yet simultaneously paints them as sharing a die-cast sense of slyness and humour. Both men prefer to “keep busy”, and are almost drawn to one another. Moreover, both are seemingly contemptible characters in their own means – Frost is an aloof, air-headed playboy spurred by money, whilst Nixon is an unconvicted criminal, also spurred by money – yet Sheen’s Frost possesses such a suave, infectious charm, and Langella’s Nixon, such a delicious air of dour wit, that it is difficult not to find something to like about these characters.
Howard’s carefully-picked supporting cast also dazzles, particularly Sam Rockwell as the impassioned liberal investigator James Reston Jr., who wishes to give Nixon the trial he never had. Kevin Bacon also gets some much-needed upper-tier elevation as Nixon’s aide Jack Brennan, and plays the uber-conservative straight-man to perfection.
Much of the film’s first half is like a promo show for a boxing match – it is full of vignette and ideological opposition, and a sense of discomfort quietly percolates beneath the surface. As the moment of truth edges closer, Frost and Nixon even each receive their own flashy entrances to the vocal, uproarious crowds - Howard’s sense of spectacle (and more to the point, believable spectacle) is immense.
The film’s second half juxtaposes the tapes themselves with post-fight talking head commentary, and whilst it may sound procedural, it is an utterly compelling mix – Howard knows exactly where and when to cut between his A-roll and B-roll.
Once proceedings begin, Frost/Nixon is an intense sparring match between the two figureheads, as the respective members of the “ring crew” observe from behind monitors, recoiling or cheering as each figurative punch is delivered. Between each of the four “rounds” of recording, the teams converge and advise their competitor on how to proceed, and it is these interludes which illustrate just how much personal stock each side has invested in their crusade, to the point where it seems to subsume the human element of the battle, noted no better than when Frost invites his cohorts to “celebrate”, to which they are utterly dumbfounded, before he protests that it is his birthday.
The unqualified delight of the film is the build up to the final meeting between Frost and Nixon – in a phone call between the two, Nixon taunts and goads Frost, ratcheting the tension levels five-fold. Through most of the film, Nixon is the confident adversary, whilst Frost is the monetarily-invested, outfoxed underdog, and at game time, all of the muck-raking and mind games build to a wonderfully satisfying third act climax.
Ultimately, Frost/Nixon is a sensitive portrait of a man weathered by his myriad political foibles, yet the film never gets away from the heart of the matter, that it seeks to further indict Nixon’s sheer abuse of his position as the President of the United States. Frost/Nixon is an utterly compelling work, combining Academy-worthy writing with Academy-worthy performances (namely from Langella, but Sheen is outstanding also), and Howard’s directorial efforts are arguably the greatest that he has ever produced. Frost/Nixon is one of the best films of the year, and deserves attention whether you are interested in American politics, or simply interested in film.
9/10
Thanks for reading,
Reefer
~~~
Frost/Nixon, Ron Howard’s first return to the camera since the extremely divisive The Da Vinci Code, is a fascinating film – in the slew of Oscar-baiting pictures emerging, Frost/Nixon is a genuinely exhilarating battle-of-wits between British reporter David Frost and President Richard Nixon, and is certain to earn several nods from the Academy.
Even with his previous successes (namely Apollo 13 and Cinderella Man), Howard’s mastery of the film medium has never been this pronounced – Howard presents much of the film in a documentary format, yet intercuts this between a diegetic document of the Frost/Nixon interview tapes, and the turmoil that bookends them also.
Moreover, the lengths to which Ron Howard has attempted to immerse the viewer is stultifying – an image of Frank Langella replicating Nixon’s exit from the White House is particularly resonant, especially when Howard also endeavours to seamlessly combine this with “real” footage as best possible (such as actual footage of Gerald Ford).
Frost/Nixon succeeds not merely in championing helmer Howard, however – this is an impeccably crafted film that is a robust collaboration, with its austere direction, deep characterisation and nuanced script, all of which turn on the axes of two outstanding performances – Michael Sheen as David Frost, and Frank Langella as Richard Nixon.
Scribe Peter Morgan (who also wrote the original play) presents Frost and Nixon as men from not only different countries, but different words, yet simultaneously paints them as sharing a die-cast sense of slyness and humour. Both men prefer to “keep busy”, and are almost drawn to one another. Moreover, both are seemingly contemptible characters in their own means – Frost is an aloof, air-headed playboy spurred by money, whilst Nixon is an unconvicted criminal, also spurred by money – yet Sheen’s Frost possesses such a suave, infectious charm, and Langella’s Nixon, such a delicious air of dour wit, that it is difficult not to find something to like about these characters.
Howard’s carefully-picked supporting cast also dazzles, particularly Sam Rockwell as the impassioned liberal investigator James Reston Jr., who wishes to give Nixon the trial he never had. Kevin Bacon also gets some much-needed upper-tier elevation as Nixon’s aide Jack Brennan, and plays the uber-conservative straight-man to perfection.
Much of the film’s first half is like a promo show for a boxing match – it is full of vignette and ideological opposition, and a sense of discomfort quietly percolates beneath the surface. As the moment of truth edges closer, Frost and Nixon even each receive their own flashy entrances to the vocal, uproarious crowds - Howard’s sense of spectacle (and more to the point, believable spectacle) is immense.
The film’s second half juxtaposes the tapes themselves with post-fight talking head commentary, and whilst it may sound procedural, it is an utterly compelling mix – Howard knows exactly where and when to cut between his A-roll and B-roll.
Once proceedings begin, Frost/Nixon is an intense sparring match between the two figureheads, as the respective members of the “ring crew” observe from behind monitors, recoiling or cheering as each figurative punch is delivered. Between each of the four “rounds” of recording, the teams converge and advise their competitor on how to proceed, and it is these interludes which illustrate just how much personal stock each side has invested in their crusade, to the point where it seems to subsume the human element of the battle, noted no better than when Frost invites his cohorts to “celebrate”, to which they are utterly dumbfounded, before he protests that it is his birthday.
The unqualified delight of the film is the build up to the final meeting between Frost and Nixon – in a phone call between the two, Nixon taunts and goads Frost, ratcheting the tension levels five-fold. Through most of the film, Nixon is the confident adversary, whilst Frost is the monetarily-invested, outfoxed underdog, and at game time, all of the muck-raking and mind games build to a wonderfully satisfying third act climax.
Ultimately, Frost/Nixon is a sensitive portrait of a man weathered by his myriad political foibles, yet the film never gets away from the heart of the matter, that it seeks to further indict Nixon’s sheer abuse of his position as the President of the United States. Frost/Nixon is an utterly compelling work, combining Academy-worthy writing with Academy-worthy performances (namely from Langella, but Sheen is outstanding also), and Howard’s directorial efforts are arguably the greatest that he has ever produced. Frost/Nixon is one of the best films of the year, and deserves attention whether you are interested in American politics, or simply interested in film.
9/10
Thanks for reading,
Reefer