Gods and Monsters

Frailty
(***)

Sasha Stone
Mirror film critic

   Bill Paxton has been kicking around as an actor for years. He’s had roles in high profile films like “Titanic,” “Twister” and “Aliens,” as well as parts in smaller films like “A Simple Plan” and “One False Move.” His work is almost always good. But his role as the drunk-with-faith father in “Frailty” is his best work to date. While most people will be talking about what a fine director he’s proven himself to be, I think this film shows just how fine an actor he can be, paired with the right director.
   Because he’s at the top of everybody’s nice guy list, Paxton isn’t exactly given a wide range of roles to play. He’s usually the buoyant jock, not too bright, but fun-loving and tough in a flannel shirt-brown work boots kind of way. It is no surprise that he would cast himself against type in his directorial debut, allowing him the chance to turn his image on its ear.
   The film begins as a nervous Fenton Meiks (Matthew McConaughey) enters FBI headquarters saying he knows who’s been doing the “God’s Hand” killings: his brother. To convince the FBI agent (Powers Booth) that he’s telling the truth, Fenton must tell his whole story, going all the way back to the day his boy’s life changed forever.
   Life was sweet for the Meiks boys, Fenton and his little brother Adam, whose life consisted of routine, with Fenton caring for his younger sibling while their father worked as a mechanic. It’s straight out of Norman Rockwell until the day dad gets visited by an angel who tells him that he’s been chosen to rid their town of demons. The angel will be sending him — along with suggestions for murderous weapons — a list of demons that’ve done very bad things in life and must be killed.
   Their father will be able to tell whether the people on the list are real demons by laying his hands on them. If he sees their sins he will able to rid the world of them. To Fenton, these are real people, but within his family he is the crazy one, the one who refuses to see. Both his beloved father and his little brother are convinced they’re doing God’s work. What’s worse, a little murder here and there or eternal damnation?
   The film cuts back and forth between the past and present, dropping hints and clues along the way. Any more plot details would reveal the big surprise that waits at the end of the film. The last fifteen minutes or so cast a shadow of doubt on the whole film, a device we’re all quite used to after “The Usual Suspects,” “The Sixth Sense” and “The Others.”
   Strangely enough, after the film’s implausible last gasp it continues to disturb. It’s hard to rid the mind of images that involve lead pipes and mouth tape and heavy axes. And that isn’t even the worst of it. The idea that sometimes relatives or parents do horrible things yet their kids still won’t run away — that is the worst of it. And that’s what makes “Frailty” as difficult to watch as it is to forget.
   On one hand, “Frailty” is a good old-fashioned scary horror movie. But on the other hand, it’s an attempt by screenwriter Brent Hanley to deconstruct religious fanaticism. Either that, or he’s a firm believer.
   For instance, there is a clear attempt here to retell the perplexing story of Abraham and Isaac. If killing is wrong in God’s mind, how then can God direct Abraham to kill his son? Did God really talk to Abraham? What if God, or his angel, were still directing people to kill and sacrifice? These are all questions the film indirectly explores (there is a reference to Abraham in the script), yet never really answers.
   We are left, once again, with our own faith or reason. As confused as young Fenton is by his father’s killing spree, so are left to decide for ourselves whether or not God’s hand was at work in it. Was it an angel or just another manifestation of psychosis? If we believe God once spoke to Abraham, couldn’t he still be speaking to people at His discretion? And wouldn’t that explain a lot.