Horror in the 90's Brainscan

Brainscan (1994) 

Directed by John Flynn 

Written by Andrew Kevin Walker 

Starring Edward Furlong, Amy Hargreaves, T. Ryder Smith, Frank Langella 

Release Date April 22nd, 1994 

Published April 29th, 2024 

When I saw that the sci-fi horror movie Brainscan was written by Andrew Kevin Walker, famed screenwriter of David Fincher's Seven and the credited screenwriter on several famous Blacklist screenplays, I got a little excited. Walker is a brilliant, risky, and unpredictable screenwriter with a lurid edge to his work. I went from having exceedingly low expectations to curious and hopeful. Then, I watched Brainscan and my hopes were dashed. It turns out, Andrew Kevin Walker wrote and sold the screenplay seven years before it arrived in theaters as a very, very different movie. 

Brainscan stars Edward Furlong, fresh off his blockbuster role in Terminator 2: Judgment Day, as horror movie junkie, Michael. Michael's life revolves around horror movies. Alongside his best bud forever, Kyle (Jamie Marsh), Michael runs a horror movie club at school. The club has even attracted Michael's crush, his next door neighbor Kimberly (Amy Hargreaves), who we first meet as Michael is spying on her with a telescope as she undresses in front of her bedroom window, which is completely open. This is so the screenwriters can cheat and have dialogue indicating that Kimberly wants Michael to spy on her. 

See, he's not a creep, it's a weird fetish thing. It's totally okay. Not hard to tell that men wrote and directed Brainscan, is it? Anyway, getting past what a little creep Michael is, let's get back to his horror movie obsession. While reading Fangoria Magazine, in a bid for free coverage from the magazine, yay corporate synergy, am I right, anyway, Michael finds an ad for a new CD-Rom horror game called Brainscan. The game promises an immersive experience as you go inside the perspective of a serial murderer as he carries out a murder. 

As the title and plot indicate, Michael orders the game and sets about playing it while his friend's are having a party next door. Once the game begins, the outside world fades away and Michael finds himself inside a stranger's bedroom. There is a knife in his hand and Michael watches helplessly as the man is stabbed to death. We watch everything from the killer's perspective, as if Michael were the killer and we were in Michael's head. Waking up the next morning after playing the game, Michael is deeply disturbed. 

It turns out, spoiler alert: Michael was the one killing this guy. It turns out that the guy who got murdered is from Michael's neighborhood and the cops, headed up by Detective Hayden (Frank Langella) are crawling all over the place. When Michael runs home, having discovered that he was a killer, he encounters the breakout character of 1994, The Trickster (T. Ryder Smith). The Trickster is the host of Brainscan leading Michael through the four stages of gameplay. First up was the murder. Next, Michael has to play the game again if he wants to destroy the evidence that he's the killer. 

Find my full length review on Vocal's Horror Community 

Classic Movie Review Masters of the Universe

Masters of the Universe (1987) 

Directed by Gary Goddard

Written by David Odell 

Starring Dolph Lundgren, Courtney Cox, Frank Langella

Release Date August 7th, 1987 

The legendary John Waters once defined camp, on an episode of The Simpsons, as “The tragically ludicrous, the ludicrously tragic.” The 1987 movie Masters of the Universe pre-dates that definition of camp by more than a decade but nevertheless defines it perfectly. Masters of the Universe is a tragically ludicrous idea undermined by greed, hubris and the outright silly notion that just because something catches on with child audiences it can be translated to film in anything other than a pathetic attempt at pandering.

There are several famous Hollywood stories from the behind the scenes creation of Masters of the Universe but few capture the essence of this horrible idea for a movie in the way that this one does. One day, Dolph Lundgren’s Rocky 4 co-star Sylvester Stallone visited the set of Masters of the Universe and seeing his former co-star exchanging dialogue with co-star Courtney Cox, Stallone expressed his apoplexy by asking an executive on set “You gave that guy dialogue?”

Indeed, Dolph Lundgren is given dialogue and through his remarkably thick accent even the simple catchphrase “I HAVE THE POWER” comes off like The Simpsons' hilarious Schwarzenegger parody, Rainier Wolfcastle, attempting a similar line from that shows' movie within a show about the fake comic book hero Radioactive Man. Undoubtedly, The Simpsons writers must have been huge ironic fans of Masters of the Universe.

Masters of the Universe was a compromised product from its very conception but that could not be clearer to fans of He-Man than in the film’s first scenes. The very first thing that happens in Masters of the Universe is that the villain Skeletor (Frank Langella, poor, misguided Frank Langella), has accomplished his long-time cartoon goal of taking over the fictional planet of Eternia. Fans can be forgiven for being floored by this as the cartoon series had been built around the battle to protect Castle Greyskull and its universe conquering powers from Skeletor and he’s just accomplished his greatest goal off-screen.

Find my full length review at Geeks.Media 

Classic Movie Review Dave

Dave (1993) 

Directed by Ivan Reitman

Written by Gary Ross

Starring Kevin Kline, Sigourney Weaver, Frank Langella, Kevin Dunn, Ving Rhames, Ben Kingsley 

Release Date May 7th, 1993 

Published June 7th, 2023 

Dave is one of the nicest movies ever made. This is such a good hearted, sweet, sincere movie that it feels entirely anachronistic a mere 30 years after its release. Politics in America has gotten so much uglier, nastier, and mean over the last 3 decades that Dave feels like a throwback to the 1930s rather than the 1990s. In Dave, politics is still filled with pit vipers and vile men with self-interested aims, but good is seemingly on an equal footing with the bad guy and more than capable of defeating the bad. 

That feels quaint today where it's nearly impossible to believe in or remotely trust anyone in an elected office. In 1993 director Ivan Reitman and writer Gary Ross were able to get away with making a political movie that never once mentions a party affiliation. The film is about the United States President and yet we never learn if he is a Republican or Democrat. The politics are able to somehow be so fuzzy that it could be either party in charge. This would be considered cowardice in this day and age and Reitman and Ross would be castigated by both sides. 

Dave is perhaps one of the last signposts of a pre-internet era of politics, a time where the lack of a constant need to feed the beast that is social media, allowed for the kind of political crossroads that seem impossible today. In the pre-internet era, parties crossed over party lines to vote what they believed in. Today, party lines are so strict, members are rumored to be leaving their party if they even consider voting against the party line agenda. The politics of Dave are, of course, secondary to the humorous conceit and central romance of the movie but it's still quite a notable indicator of just how far things have changed for the worse in Washington D.C. 

Dave stars Kevin Kline as Dave, the friendliest man in his neighborhood. When he isn't finding a job for everyone he's ever met via his temp business, Dave is opening restaurants and car dealerships portraying the President of the United States, President William Harrison Mitchell (also played by Kline), with whom he shares a striking resemblance. That resemblance is soon noticed by the White House who draft Dave to portray a Presidential double to protect the President as he leaves for a secret meeting. What Dave doesn't know, but we do, is that this meeting is actually an affair with his secretary, played by a young Laura Linney. 

Full length review at Geeks.Media

Movie Review: Unknown

Unknown (2011) 

Directed by Jaume Collet Serra 

Written by Oliver Butcher, Mandy Richardson, Stephen Cornwell

Starring Liam Neeson, January Jones, Diane Kruger, Aidan Quinn, Frank Langella

Release Date February 18th, 2011

Published February 17th, 2011

The transition from respected 'Actor' to action hero has been stunningly seamless for Liam Neeson. All it took in fact was one role, that of a man with a special set of skills and a kidnapped daughter in some Euro slum. “Taken” became an action phenomenon because Neeson the actor gave the over the top action gravitas; his acting as a badass became a whole new iconic identity as an actor.

With his new thriller “Unknown” essentially a pseudo sequel to “Taken” Neeson is set to fully monetize his new icon status.

Dr. Martin Harris and his wife Elizabeth (Mad Men's January Jones) arrive in Berlin looking like any other tourist of means. But when Martin leaves his briefcase behind at the airport and is nearly killed in an accident on his way to retrieve it the happy couple takes a shocking and disturbing turn.

Waking four days later from a coma in a Berlin hospital Martin can't remember how he got there and cannot understand why his wife never came looking for him. Returning to their hotel where he is supposed to be attending a scientific conference Martin makes a horrific discovery, Elizabeth doesn't know who he is and another, very similar looking man (Aiden Quinn) is posing as Dr. Martin Harris.

Is Martin crazy? Did the blow to his head completely scramble his brain? Why can't he get anyone he knows on the phone? All will be answered and while those answers will eventually become unsatisfying and even blindingly ludicrous, the journey toward those answers is a rollicking thriller ride that fans of “Taken” will find impossible to resist.

All I wanted from “Unknown” is for Liam Neeson to punch a bad guy in the throat and on this meager request Mr. Neeson delivers in spectacular fashion; “Unknown” may not be an official “Taken” sequel but Neeson delivers the kind of action badassery audiences crave from his newly minted action hero persona.

Yes, “Unknown” goes completely looney tunes in the last reel as Frank Langella arrives in the role of God of Exposition and ruins everything with explanatory dialogue that may as well have been delivered directly to the audience, but again, it's about the getting there.

Bruno Gans damn near steals “Unknown” right from under Liam Neeson. Playing a former member of the East German secret police who Martin turns to in order to find himself, literally find out who he himself is, Gans delivers a performance of measure and precision that would be Oscar worthy in a movie that academy members would actually watch.

Bottom line, fans of “Taken” will not be able to resist the nasty, violent charm of “Unknown.” Liam Neeson's astonishing talent for elevating B-movie material with his professionalism and imposing physicality is one of the great revelations of this short filmic decade. Neeson has changed the way we look at him as an actor as well as the action genre in general with the quality he brings to lowbrow material.

Movie Review The Box

The Box (2009)

Directed by Richard Kelly 

Written by Richard Kelly

Starring Cameron Diaz, James Marsden, Frank Langella, Gillian Jacobs

Release Date November 6th, 2009

Published November 6th, 2009

It has been years since Richard Kelly burst on the scene with his visionary indie flick Donnie Darko. With its twisting, turning, spiraling plot and psychotropic imagery, it's no surprise that Donnie Darko became a cult favorite. Since that unconventional masterpiece Richard Kelly has foundered. 

His follow up, the dystopian L.A sci fi flick Southland Tales was marked by delays and budget issues before finally arriving to collective ignorance. Now comes his first major league feature. The Box has the stylish inventiveness of Darko but with a more conventional plot.

Cameron Diaz and James Marsden star in The Box as Norma and Arthur Lewis, a struggling upper middle class couple living in the suburbs of Richmond Virginia with their young son Walter (Sam Oz Stone). Their lives are thrown for a loop when one day a package is left on their doorstep.

Inside the box is a wooden stand with a glass top and a tempting looking red button. The button is locked and a note inside the box informs that a man will arrive the following day with the key and an offer. The man is Arlington Steward (Frank Langella) and the offer is 1 million dollars if the Lewis's choose to push the button.

The catch, if they push the button someone, somewhere, a person they have never met, will die. With Arthur having been denied a promotion at NASA and Walter's tuition at private school going up unexpectedly, that million bucks would come in handy. Can they live with killing someone?

The moral complications of their choice are not so much the subject of The Box. The decision to press the button comes quickly with a minimum of weighty conversation. What Richard Kelly is more interested in is a complicated little mystery plot involving mind control and maybe even aliens.

The morality stuff is dealt with but the decision is all too simple. Once those in the audience decide for themselves what they would do the film becomes a waiting game as plot strands are plucked while others dangle unresolved. Once I made my decision I was left uninvolved by the rest of the film.

I know quite simply that I would never push the button. I could not live with taking someone's life, even a complete stranger. The debate, what there was of it, and the aftermath were meaningless to me. Once the characters make the decision to press or not to press the button there is nothing much left for the movie to do but dither about in the subpar mystery stuff.

The look of The Box is exceptional. The ways in which Kelly evokes the movies of the 1970's with his soft focus lens and spectacular attention to detail are engrossing. It's the same immersive quality that Kelly had in Donnie Darko and failed to bring to Southland Tales.

The Box is a terrific looking film that succumbs to the ease of convoluted mystery at the expense of an intriguing moral quandary. The paranormal stuff could be interesting but it feels false next to the ethical dilemma that should be central to The Box. As it is, it's an intriguing idea comes out flat and uninteresting.

Movie Review Superman Returns

Superman Returns (2006) 

Directed by Bryan Singer 

Written by Michael Dougherty, Dan Harris 

Starring Brandon Routh, Kate Bosworth, James Marsden Kevin Spacey, Parker Posey, Frank Langella 

Release Date June 28th, 2006 

Published June 27th, 2006 

The title Superman Returns has more than a single meaning. The title in the literal sense refers to the fact that the man of steel is returning to the big screen for the first time in nearly 20 years. In the movie universe the title refers to Superman having disappeared from earth for five years in search of the remains of his home planet of Krypton.

This search for home is at the heart of the new Superman flick which recasts the legendary superhero, now played by newcomer Brandon Routh, as a lonely hearted romantic with unrequited passion for Lois Lane (Kate Bosworth) and an earnest will to protect mankind from all hurt and pain.

Superman Returns is a pseudo sequel to the first two films in the Superman series starring Christopher Reeve. Ignoring the last two installments, a pair of embarrassing failures, Superman Returns takes on the task of reinventing Superman while remaining beholden to the original films.

Five years after leaving without a trace, mild mannered reporter Clark Kent returns to his job at the Daily Planet. Not surprisingly, soon after Clark's return, Superman arrives and is immediately put to the test rescuing a space shuttle mission that nearly causes an airline crash. Intrepid reporter Lois Lane happens to have been on the rescued plane but her reunion with Superman is short-lived.

Back at the newsroom Clark/Superman finds that since he left, Lois has given birth to a son and is engaged to Robert (James Marsden) an editor at the paper and the nephew of the Planet's managing editor Perry White (Frank Langella). Assigned to the return of Superman story Lois is far more interested in investigating how her plane and the space shuttle came to lose power in mid-air just as the power went out across the entire eastern seaboard.

Lois has a hunch that the power outage is linked to the legendary bad guy Lex Luthor who, out on parole because Superman failed to testify against him at trial, has stolen his way to wealth and used it to discover Superman's fortress of solitude. In finding the fortress he plans to harness its power crystals to create a whole new continent for himself even if it means sinking the east coast.

The film takes on an episodic feel early on as director Singer attempts to draw together his varying plot elements.

Episode one, explains how Lex Luthor got out of jail.

Episode two, Superman returns to the Kent family farm and his mother, played by Eva Marie Saint. This episode also attempts a quick recap of young Superman discovering his powers.

Episode three, the plane crash rescue. This is by far the best episode in the film as Singer harnesses a special effects masterpiece in Superman's return to his super good deeds.

And the film continues this stop and start of episodic melodrama and action at the expense of establishing a solid dramatic rhythm over its long runtime of two hours and thirty minutes.

Superman Returns is the height of CGI special effects rendering a believably powerful and compelling Superman. His feats of strength and speed are exciting and eye-catching. Check out the space shuttle and plane crash scenes and also a scene where Superman rescues downtown Metropolis from the falling globe from the top of the daily planet building. Routh's poise in this scene is classically and iconically Superman.

However, when Clark Kent slips out of the Super suit the film comes to a screeching halt. Here Bryan Singer's slavish devotion to the original films becomes burdensome. Richard Donner's version portrayed the Daily Planet as a throwback to the My Gal Friday, fast talking, down and dirty days when female journalists were dames and everyone was out for the big scoop. Singer's vague attempts to recapture that are disastrous.

Singer also tries to evoke those unique qualities of Clark and Lois that Christopher Reeve and Margot Kidder made memorable. Thus you have the charismatic but humor challenged Routh attempting Reeve's swift witted nerdy Clark Kent minus the wink and a nod. Then you have Bosworth trying out Margot Kidder's flighty but quick on her feet comprehension, something Bosworth fails miserably at.

Brandon Routh makes a great Superman. He has the physicality, good luck and soulfulness that evokes the best qualities of his predecessor Christopher Reeve. What Routh lacks is the wit that allowed Reeve to play the duality of Superman and Clark Kent. Routh lacks that knowing glint in the eye, that subtle wink and nod that Reeve brought to Clark Kent that helped audiences accept Superman and his nerdy alter ego.

The bigger problem for Routh however is his co-star and love interest Kate Bosworth. Though lovely, Ms. Bosworth is a lightweight dramatic presence. When compared to Margot Kidder's tough and unconventionally sexy Lois Lane, Bosworth is blown away. Where Kidder and Reeve burned up the screen with romance and wit, Routh and Bosworth could barely strike a match. Bosworth is an emotional cypher.

Brandon Routh also gets little help from co-star and arch-nemesis Kevin Spacey. Evincing more petulance than menace, Spacey chews scenery nearly as well as Gene Hackman did back in 1978 but where Hackman brought charm and wit to Lex Luthor, Spacey brings sneering, mustache twirling, buffoonish-ness to the role.

Superman is a god like character, seemingly all knowing, thanks to his super hearing and ability to see through any substance, he is also benevolent and compassionate. The script does not play up Superman's god like qualities, they are inherent in the characters backstory. The problem is the film does not attempt to deconstruct this image. Superman begins the movie as god and though he faces temporary physical setbacks, his character is never challenged thus he does not have a great arc.

In Batman Begins and Spider Man 2, arguably the two greatest superhero films ever made, the main characters had their morality and their personalities challenged and played big dramatic arcs. Superman however is so sure of his place in the world and is so earnestly engaged that he seems bland. He is challenged romantically but because the love interest is so passionless the challenge is not all that dramatic.

Christopher Reeve and Margot Kidder brought a goofy sort of charm to the romance of the first two Superman films that managed to flame into a pretty good love story. In Superman Returns the romance is a non-starter because star Kate Bosworth is a limp noodle of muddled romantic interest. We can see love in the eyes of Routh's Superman but Bosworth's Lois Lane is a blank slate.

The film asks us to believe that when Superman left without saying goodbye Lois wrote a Pulitzer prize winning story about why the world does not need Superman. We are to believe that she poured all of her sadness and pain into this essay and that, despite being unable to spell the word catastrophic -a joking nod to the first Superman movie- she was honored with journalism's highest prize. But we are only told these things. Bosworth never demonstrates her heartbreak beyond a simpering anger in her voice.

The real dramatic arc of Superman Returns is only brushed over. It's the search for a home. Superman left earth without a word to the people he loved. He went to find his true home and found only ruins. Back on earth his beloved Lois Lane has moved on with another man and though he has his mother and his purpose, Superman lacks a private place in the world. This character arc is sniffed around and hinted at but, sadly, never fully explored.

A series of intermittently entertaining episodes Superman Returns is at its best when director Bryan Singer presents his big action set pieces. When the film slows down and Brandon Routh is out of his super suit the film bogs down. The movie needed to modernize the newsroom setting, smarten up Lois Lane so we don't find her so dithering, and cut a good 20 minutes out of the non-action scenes. Unfortunately it's far too late for these changes.

As it is Superman Returns is a modestly entertaining, visually impressive action picture that lacks the wit and romance that made the original iconic.

Movie Review: Wall Street Money Never Sleeps

Wall Street Money Never Sleeps (2010) 

Directed by Oliver Stone

Written by Allen Loeb, Stephen Schiff

Starring Michael Douglas, Carey Mulligan, Frank Langella, Shia LeBeouf

Release Date September 24th, 2010

Published September 23rd, 2010 

Director Oliver Stone has long been a fearsome critic of Wall Street greed. His Frankenstein character Gordon Gekko from 1987's “Wall Street” was meant as a stinging rebuke of Wall Street greed but became the progenitor of a new generation of real life Wall Street sharks who idolized Gekko's 'Greed is Good' philosophy.

More than 20 years later Stone looked set to take on Wall Street again as massive financial machines came crashing down before the government stepped in to save them. The financial meltdown seemed to provide the perfect background for the return of Gordon Gekko and an opportunity for Stone to provide the ultimate artistic polemic damning the Greed is Good generation. So what happened?

“Wall Street” Money Never Sleeps” stars Shia LeBeouf, picking up on the Wall Street wunderkind role essayed by Charlie Sheen in the original “Wall Street.” Shia is Jacob Moore, a 20 something who has risen fast at a powerful banking firm that stands on the verge of collapse. His mentor, the company CEO (Frank Langella), has leveraged the company on a lot of bad debt.

In a mirror image of Lehman Brothers, the company collapses and the rest of Wall Street rushes in to pick the bones. Soon, Jacob's mentor has taken his own life and Jacob is looking for revenge against the snake-like CEO of a rival company, Bretton James (Josh Brolin), who was responsible for his company’s downfall.

Jacob happens to have an unlikely ace in the hole; he's engaged to Winnie Gekko (Carey Mulligan), daughter of disgraced but re-emerging Wall Street titan Gordon Gekko. With a new book coming out and prison in his rearview mirror, Gekko too is in the revenge business, seeking the people who helped send him to prison. Seeing that he and Jacob may have a common enemy, Gekko offers sage advice and inside information all the while poking the kid to help repair Gekko's strained relationship with his daughter.

It is in the private lives of Jacob and Winnie where “Wall Street” Money Never Sleeps” goes awry. Carey Mulligan is a wonderful actress, always very compelling but here she is reduced to whiny caricature and plot creation. Winnie Gekko doesn't exist fully as a stand alone character and whenever she's onscreen you are left longing for what's happening in the boardrooms and backrooms where the billions of dollars are changing hand.

Director Oliver Stone, unfortunately, uses the relationship stuff as a place to hide from the Wall Street stuff. Where audiences come in expecting the controversial director to come out swinging against Wall Street greed monsters, we are shocked to find how often Stone turns tail and runs to the softer ground of father daughter and boyfriend girlfriend melodrama.

Yes, the relationship stuff does tie back to the main plot but it's more distracting than compelling. Josh Brolin and Frank Langella provide the film's best scenes as they battle for the soul of Wall Street and the politics of money within the walls of the Federal Reserve building. In Langella we see the failed dream of the honest man and in Brolin the mindless consumption that nearly drowned us all.

These scenes are achingly compelling and offer a glimpse of the Wall Street sequel many felt we would be getting. Sadly, it is only a glimpse as LeBoeuf's Jacob is never remotely compelling as Langella's sad mentor character. Once Langella is gone, Brolin and Douglas suck the air out and leave LeBeouf gasping in their wake, unable to support the edgy, critical side of Wall Street that we thought we were getting.

It's fair to theorize that LeBeoef's cypher like performance may be why Stone backed off on the more biting and dangerous critiques of modern day Wall Street. Lebeouf simply couldn't carry the weight. Stuck with him, Stone reverts to the romance and family plots, kicking in Susan Sarandon as Jacob's mom for extra help, and leaving “Wall Street: Money Never Sleeps” shockingly soporific.

As for the return of Michael Douglas as Gordon Gekko he is sadly trapped by director Oliver Stone's wimping out. Gekko could have been, should have been the ultimate rebuke, the hammer that came crashing down on modern Wall Street greed. Instead, Gordon Gekko is softened and chastened by the need for the love of his daughter. Stone does well to isolate Gekko into his own plot and evoke the things we remember from the original “Wall Street,” but I can't be the only one who was hoping for something more than mere nostalgia.

For whatever reason, Oliver Stone pulled up short in “Wall Street: Money Never Sleeps” either unwilling or unable to pull the trigger on the kind of crushing polemic that many had hoped the ultra-left wing director would deliver upon the criminals who robbed America and left the economy in tatters for their own gain.

Movie Review Frost/Nixon

Frost/Nixon (2008) 

Directed by Ron Howard 

Written by Peter Morgan 

Starring Michael Sheen, Frank Langella, Oliver Platt, Sam Rockwell, Rebecca Hall 

Release Date December 5th, 2008 

Published December 4th, 2008 

Need and desperation defines Frost/Nixon, a battle of wits between two men of completely different wit. David Frost (Michael Sheen) was a television host whose stardom was on the wane. Having lost his American talk show, Frost was working in Australia with the occasional English special. Frost longed to get back the spotlight and especially get back the celebrity he'd enjoyed in the United States. His longshot bet to get it back was an interview no one thought he could get. 3 years after having been impeached and pardoned, Richard Nixon was living in exile in California and longing for a comeback of his own.

Though his memoirs meant alot to him, he was getting nearly a million dollars for his story, a near record at the time, the writing process was lonely and he longed for a national spotlight. Nixon had standing offers from all of the network big wigs but people like Mike Wallace had too much power and would not accept limitations on the kinds of pointed questions they could ask. David Frost on the other hand had no power. He had no stature to make demands and his reputation for softball celebrity interviews gave no indication that he would make a difficult interview for the cagey former President. Frost also offered something else the networks refused, he was willing to pay for the interview.

Feeling he could interest a network or syndicator later, Frost willingly put every penny he had into paying for the interview from several hundred thousand for the President to the very production and recording of the interview. Even without the assurance that he would have a venue to air the interview. Frost may not have been in much of a position to intimidate the former President but he was crafty. With the help of his longtime producer John Birt (Matthew Macfaydyen), Frost found a pair of top flight investigators to help write the questions and prep the interviews.

Bob Zelnick (Oliver Platt) was a former ABC News producer and James Reston Jr (Sam Rockwell) was a Watergate scholar having already written several books in just the three years since the President's downfall. It was Reston, the zealot, who saw the interview as the opportunity to give Nixon the trial he never had. Frost/Nixon began life as a two man stage play written by playwright Peter Morgan. He dramatized the conversations between Frost and Nixon on camera and off and in so doing gave audiences unique insight into these two extraordinarily different personalities.

It is also Peter Morgan who turned his two man play into a multi-character screenplay and his care and craftsmanship is why so little of the drama and tension has been lost by the addition of characters and scenes away from the actual interviews. Ron Howard proves to be the perfect director for this material. A mainstream auteur, Howard knows how to please an audience and do so without making things insultingly easy to follow. His knack for real life drama shown in two Best Picture nominees, Apollo 13 and A Beautiful Mind, is very much on display in Frost/Nixon.

When Nixon says to Frost "When the President does it, it isn't a crime" even the most ardent Republican could not miss the obvious allusion to things that Dick Cheney has come oh so close to saying himself in numerous interviews about the Iraq war and other scandalous events of the Bush administration. President Bush also, to a lesser extent, when it comes to issues of rendition and torture, has walked the line of nearly saying the same thing about Presidential power.

The key to Howard's direction of that scene, that approach to Nixon’s abuse of power and its historic context, and of the subtext as a whole, is not to overplay or underline the point. The moment in the movie is breathtaking both for the subtext provided in recent American history and for how it plays between Nixon and Frost. As Frost pauses not knowing how to react to such an extraordinary answer, the moment hangs in the air like a sword over both of their heads. Can Frost follow up? Does he need to? Can Nixon recover? This is one of three breathtaking moments in this movie, the other two I will leave you to discover.

Frank Langella's Nixon is a wounded soul who you almost come to sympathize with. Almost. I am among those who could never forgive such horrendous corruption. But, seeing Frost/Nixon, you get an impression of a man with great conviction. A man who, if he were not so paranoid and power mad, could have been a great President. Michael Sheen meanwhile, is very effective as David Frost, capturing both the blow dried pretty boy and the feisty, crafty scoundrel who may have been just the right man for the job. In the end it was Frost who cemented Nixon's image in our minds. Some revisionists may claim that Nixon came away better for the interview but those Watergate moments are the ones that people will always take away.

Frost/Nixon is one of the best films of 2008.