Director Ron Howard's movies always have something going on beneath the surface. No, I'm not talking about subtext. One doesn't go into a "Ron Howard Film" and expect Opie Cunningham to challenge your cinematic integrity. With his "serious" films, like his latest Frost/Nixon, Howard spends a whole lot of a attention to detail. Stuff like production design, make-up, editing and cinematography can get you only so far (i.e. Backdraft, The DaVinci Code and Apollo 13).
This time, Ron Howard directs from something he's (arguably) never had before - a good script. Frost/Nixon is easily his best film, but I do wish it had been directed by someone with less attention on the set design and more on the subtext.
I will say this about Frost/Nixon. It made me have a complete flashback to the feelings and emotions of a certain figure in the 70s I haven't thought about in a long time.
I'm talking, of course, about the Macramé Owl. Actually, in our kitchen it was a Macramé Frog, but really, who's keeping track. This frightening dust collector shares more on-screen time in this movie than Clint Howard's obligatory cameo.
Thanks a lot Ron, for bringing up the demon folk art that took 4 years of therapy to remove from my memory.
