· "It’s difficult to think of a director less-suited to take on the intricate, minutiae-obsessed writing of Peter Morgan than Howard — a director who, even in his finest films, has always been interested in the big picture first, with characters serving history rather than the other way round. [...] Leading with his impressive, booming approximation of the Nixon voice, Langella is allowed to actively chew scenery and the performance becomes increasingly detached from the overall work." — Guy Lodge, InContention [via Patrick Goldstein]

· "Sheen's impersonation of Frost starts with the classic tics: the head waggle, the nasal droning, the tiny soupçon of Brucie - but he soon sounds like ... well ... Tony Blair. [...] Nixon is a juicy part and Langella extracts every tasty drop.But the performance has no room to grow. Frost and Nixon have no 'real-world' encounters: it is like a boxing movie about two combatants who never meet outside the ring." — Peter Bradshaw, The Guardian

· "Although it all pays off in a potent and revelatory final act rife with insights into the psychology and calculations of power players, the initial stretch is rather dry and prosaic. Perhaps needlessly adopting a cinematic equivalent of the play's direct-to-audience address, Howard 'interviews' several of the characters, witness-style, about the events, which only serves to make the film feel somewhat choppy, half like a documentary at first. [...] It might even be that the film could have done without the talking heads altogether." — Todd McCarthy, Variety

All right, all right — fine. Let Grazer write this one off to Gigi and let's just move on to '09, already.

Now that the shock of Anthony Minghella's sudden death has dissipated slightly, I think it's less unseemly to say that this brilliant and soulful filmmaker died unfulfilled. ... And I can't help thinking that what happened has something to do with someone whose name rhymes with Shmarvey Shmeinstein. ...

Why did he complete only six films (counting one in the can) in the eighteen years between Truly, Madly, Deeply and his death? Where were the gutsy little modestly budgeted movies — good or bad or uneven — that could have kept him rooted? ... It's not that he was forced to make crap. It's not that his movies were entirely mangled by big hairy paws. It's that an artist who could have set an example for gutsy personal filmmaking surrendered his autonomy — as so many others have done — in the name of someone (or shmomeone) else's ego.

Look, it's a dense essay that deserves a complete read-through. Nevertheless, the downplaying of Minghella's accountability for his own work — including five collaborations with Miramax and The Weinstein Company — is one of several glaring vacuums into which a relapsing Harvey is no doubt exhaling full packs' worth of cigarette smoke and blinking pure Diet Coke tears this afternoon. And while we don't necessarily believe that Harvey is capable of this kind of lethal sociopathy with his filmmakers, we'd strongly encourage Edelstein to listen closely to any unmarked parcels for a few seconds before opening them.

• How (and Why) Anthony Minghella's Talent Wasn't Quite Fulfilled [NY Mag]