Analysis
Two of the creepiest films to arrive in 2002 were the underrated Signs and Frailty, and not only are the two very different, it is interesting to note that although not true horror films in many people's eyes, they, especially Frailty, were more frightening than most other official horror films in this post-Scream, overly self-reflexive era.

Frailty is not scary in the Friday the 13th sense, as there are few BOO!, moments, but let's face it, the original Friday the 13th was a terrific cure for insomnia at best. Not only is Frailty tense and full of Southern Gothic atmosphere, it is also drawing from the REAL. And that's far scarier to me. The film may be full of supposed 'demon slayers' etc., but not once does a character in this film step out of character. First and foremost is Dad, played as a good-natured, loving and hardworking single father by the always memorable (well, except for that sleep-inducing 3 hour ode to the size of James Cameron's penis, Titanic) Bill 'Game Over, Man!' Paxton, also the director. Not content to go nutso like we all know and love him for, Paxton runs through almost every conceivable emotion here- conflicted, deranged, loving, unassuming etc. And he's believable every step of the way. Whilst not rivaling Norman Bates or Strangers on a Train's Bruno Antony for villainy, if indeed Paxton is a villain here, his 'Dad' is the scariest kind of character- a good man at heart who kills with what he sees as the best of intentions. Sumpter and O'Leary are also standouts as the two very different kids, and even Matthew McConaughey, with an effectively icy stare, is well-cast here, even if his scenes are a distracting plot device at times.

This was Bill 'Don't Call me Chet' Paxton's feature debut as director, but it sure doesn't show. In fact, this may be the most startling (if imperfect) directorial debut since Spike Jonze's off-the-wall Being John Malkovich, and it rivals the Blair Witch Project in its less-is-more approach. Paxton, if for nothing else, needs to be commended for his sensitive, not-as-exploitative-as-it-could've-been treatment of some rather thorny issues relating to child abuse and the very prescient notion of religious (over) zealousness. Working with top cinematographer Bill Butler, Paxton has put together a visually compelling, atmospheric film full of gothic imagery, foggy rose-gardens, a brilliant use of shadows, and contrasting light and
dark colours. Paxton and fellow first-timer, screenwriter Brent Hanley have cited Robert Aldrich as an influence, and the Southern Gothic bible-belt look and feel are definitely reminiscent of my favourite Aldrich horror-melodrama, Hush..Hush, Sweet Charlotte. Meanwhile, that rose garden and thick bushland, representing the hopelessness of the older child's situation (ie. He can't leave, even if he wanted to), might as well be hiding the corpse of the pathetic Shelley Winters character in Night of the Hunter. And could that be the spirit of Robert Mitchum visiting Paxton at night to tell him the story of LOVE and HATE? The towering composition and use of shadows for that character in relation to the two kids, also suggests a connection. What we have is a sense of the unreal or the terrible, presented purely visually, or in the dreaded intones of Brian Tyler's score, aurally, whilst the characters are all grounded in reality.

It is such a shame that for all the interesting ideas that Hanley's script touches on, the way he resolves it is unsatisfactory, and the structure of the whole film is a tad tired, for my mind. Unlike most people, however, my problems with the ending are merely with the length of that final segment, and are probably more a result of a director too in love with his film to cut the ending a little. What we end up with is an ending that goes on way past the point of effectiveness. A minor, quibble, however, as an ending duth not a film maketh.

Key Area	Rating (out of 5)	Comment
Action		Lots of axe-weilding, but the majority of the killings are off screen.
Thrills/ Tension		Continuing sense of dread built not only by atmospheric direction, cinematography and score but by the fact that seemingly normal people appear capable of doing the unthinkable. The scariest moment is infact one where Paxton actually kills a 'person' and vomits. He seriously seems convinced that there is a difference, and is passing on this idea to his kids.
Violence/ Gore		Mostly offscreen, but relatively explicit in the few moments we do see. Does child abuse of the non physical beating kind count.
Bare Flesh	NONE	Are you kidding?
Plot		Flashback structure may allow some keen viewers to guess the twist early on, but still a truly intriguing and disturbing story for a first script.

Verdict Flawed, but one of the better horror films in a stale period for the genre, a mixture of Southern Gothic melodrama and European horror, the likes of which we have not seen in quite a while.

Movie Pictures (Click picture to enlarge)