Starring: Bill Paxton, Matthew McConaughey
Directed by: Bill Paxton
Written by: Brent Hanley
Studio: David Kirschner Productions
SERIAL KILLER MOVIES, as a genre, are tapped out. Case in point, we have movies about serial killers that capture people and kill them on a webcam broadcast, serial killers targetting shitty actors, serial killers obsessed with copycatting famous serial kilers (META), etc. There will always be something fascinating about serial killers, not because of the infinite supply of conceivable (ridiculous or otherwise) modus operandi to tap into, but because they are forces of calculated, ritualized destruction. And because they tend to be smart (and white), they easily escape suspicion. Muahahahaha.
Frailty gives us a unique view of how this functional insanity creeps into an otherwise down to Earth, God-fearing family. Although the film never explicitly names the impetus of the father's (Bill Paxton) descent into murderous delusion, it doesn't have to - what's more important here is to see how his belief of being God's agent of vengance concretizes and then spreads. It is rare to see such a metamorphosis happen on screen, and even rarer to see one that isn't brimming with zany or diabolical hallucinations (e.g. Jacob's Ladder). Bill Paxton totally owns the memorable role, which mixes southern comfort with hellfire (good drink too by the by).
However, the film definitely misses its target in other respects. For one, it feels way too long - by the time we get to see the father murder his third victim, we've seen all the motions and "horror." For two, despite Boothe's stellar performance, Matthew McConaughey (heh, he has 'ghey' in his name) manages to kill every scene he's in - thank god he doesn't share one with Paxton. What really fucked this film though was when the introduced possibility of SUPERNATURAL forces behind the serial killer and his son's murderous work. No joke; it's tonally jarring and totally destroys the coherence of the film. Ya blew, Brent Hanley.
Direction: This was Bill Paxton's feature length directing debut - and it shows. The camerawork is especially bad during the creek scenes.
Writing: The dialog's ok, some of the details about the father's peculiar brand of visionary psychopathy were cool, but CHRIST WHAT THE FUCK WAS THAT ENDING?!
Acting: While he can't direct, Bill can definitely act. His usual calm, almost pleading voice is perfect for his character here. The kid that played Young Fenton was quality too. And I always loves me some Powers Boothe.
Editing: The entire last act dragged like obese man's bodybag.
Sound: The sound work in phenomenal in the lonely, suspenseful scenes where Jake snoops.
Soundtrack/Score: Pretty solid orchestrals, nothing groundbreaking. The OMG HE'S GONNA CUT THAT GUY music wasn't particularly spine-tingling.
Self-Awareness: This movie knows it needed a twist in the third act, but ultimately decided on one of the oldest in the book. Groan.
Overall rating: ** 1/2
~Ian
However, the film definitely misses its target in other respects. For one, it feels way too long - by the time we get to see the father murder his third victim, we've seen all the motions and "horror." For two, despite Boothe's stellar performance, Matthew McConaughey (heh, he has 'ghey' in his name) manages to kill every scene he's in - thank god he doesn't share one with Paxton. What really fucked this film though was when the introduced possibility of SUPERNATURAL forces behind the serial killer and his son's murderous work. No joke; it's tonally jarring and totally destroys the coherence of the film. Ya blew, Brent Hanley.
Direction: This was Bill Paxton's feature length directing debut - and it shows. The camerawork is especially bad during the creek scenes.
Writing: The dialog's ok, some of the details about the father's peculiar brand of visionary psychopathy were cool, but CHRIST WHAT THE FUCK WAS THAT ENDING?!
Acting: While he can't direct, Bill can definitely act. His usual calm, almost pleading voice is perfect for his character here. The kid that played Young Fenton was quality too. And I always loves me some Powers Boothe.
Editing: The entire last act dragged like obese man's bodybag.
Sound: The sound work in phenomenal in the lonely, suspenseful scenes where Jake snoops.
Soundtrack/Score: Pretty solid orchestrals, nothing groundbreaking. The OMG HE'S GONNA CUT THAT GUY music wasn't particularly spine-tingling.
Self-Awareness: This movie knows it needed a twist in the third act, but ultimately decided on one of the oldest in the book. Groan.
Overall rating: ** 1/2
~Ian
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