#234. Frost/Nixon (2008)

 

 

Prior Viewings: 1

 

Man, remember when American presidents could actually face the consequences of their actions? What a wild concept.

 

For the most part, Frost/Nixon is a safe and unadventurous historical drama (what else would you expect with Ron Howard behind the camera?), but the execution's smooth and direct enough that I find the whole thing really compelling. It just builds and builds in a way that feels both suspenseful and effortless, and it's not long before I'm gripped by a bunch of interviews that have already taken place.

 

Helps, too, that the movie humanizes these two people to the degree that it does. Nixon is correctly presented as a lying criminal, but there's a self-loathing loneliness to this depiction that gives the man some unexpected depth (and I like that Frank Langella does his own interpretation, rather than just an impression). And despite Frost coming off like a vapid playboy, you can sense his frustrations and inner turmoil at all times, and it lends that much more weight to the stakes of the story.

 

I don't know if I'm completely sold on the faux-documentary style (in my opinion, it detracts from the overall simplicity), and a few of the more sensational moments don't quite convince, but I think this is an otherwise impressive dramatization, with a strong central conflict, a good sense of rhythm, and a likeable team dynamic.

 

Grade: A-

 

#84. Night Shift (1982)

 

 

Prior Viewings: 1

 

A.K.A. the other buddy movie from 1982 that introduced a soon-to-be A-lister to the movie world through some obnoxious a cappella.

 

Ron Howard's first major release is much sweeter in practice than it probably is in theory. When you consider both the audacious prostitution premise and the murderous opening scene, you'd be forgiven for expecting something with a much darker tone. But while Night Shift lacks danger and edge (though the location work provides some grit), it compensates with a great deal of warmth and humour.

 

Granted, this approach feels somewhat generic at times, but I think that's part of the appeal. Simple as it may sound, I like when '80s comedies emphasize lighthearted tones, likeable characters, crisp nighttime atmospheres, and montages set to goofy pop tracks. And while things occasionally get weighed down by gooey sentimentality and formulaic arcs, the snappy pacing and charismatic performances do more than enough work to keep the energy flowing.

 

Speaking of: if there's one reason to see this movie, it's obviously my guy Michael Keaton. He's probably more annoying here than he is charming, but his antics are still lively enough to make the situations seem funnier than they really are - especially when they're set against the more low-key (though perfectly pleasant) performances from Henry Winkler and Shelley Long.

 

Grade: B+