Greetings And Salutations, and welcome to my review of Early Frost; here's the breakdown of my ratings:
Story: 1.00 Direction: 1.25 Pace: 1.00 Acting: 1.25 Enjoyment: 1.00
TOTAL: 5.50 out of 10.00.
Oh, those Australians.
I love you guys and gals. You never shy away from telling a story like it is. And it's the gritty realism that makes this movie so damned good. However, it's a shame that the storyteller wasn't better skilled.
Terry O'Connor, who scribed this bold and bleak tale of murder and a dysfunctional family, could've done with a few more projects under his belt. I respect his choice to make the story as uncompromising as he could. On the whole, this approach works well and adds an insightful deepness into a deteriorated family life. Sadly, when the reveal and the climax arrive, the rushed feel of the narrative and lack of details destroys everything that came before. O'Connor gives us Val Meadows, wife and mother, but not a lover. The only reason Peter Meadows married her was so she could pop out his kids, feed them, and look after them when they were sick. When she fully realises what her present and future hold, she hears the call of the whiskey bottle - and Val is a vicious drunk. On one family outing, Peter teaches their son Joey how to swim. However, things don't go well, and Val irked by Peter's inability to teach Joey to be an Olympic swimmer in ten minutes, bestows upon his forehead a can of beer. Dazed and confused, Peter drowns as his family watch. Val informs the police that Peter was attempting to save Joey from drowning when he went under the water. The kids say nothing. Years later, the whisky still calls to Val while her kids call her every name under the sun. John, the oldest, lives his own life and is looking to get married - as long as his pig of a mother doesn't mess it up. Joey, still a kid and at home, takes to staying out and away from his mother most nights. Val knows all too well how her sons feel toward her. She even believes John is out to kill her. So when she gets zapped by an electric shock one night, she isn't too surprised when she comes around. But a few hours later, a stranger pays her a call: A private detective who's figured out that she may be a serial killer's next victim. From this moment onwards, we needed more clues to the killer's identity. Even if they were red herrings, they would've pulled me into the story further. And because of the reveal at the finale, the incidents become hard to accept, especially the private eye's exploding car. I needed some evidence that the killer had the skills to accomplish these murders. It didn't matter how good the story was or how well-written the individuals were. These positives got blown to hell in the last ten minutes.
The direction is fine. Nothing is outstanding or memorable about it. And, in truth, it's missing quite a lot, particularly at the movie's end. I am unsure if the ending was a victim of the census board or if the directors planned it this way. Whatever the answer, it's as horrendous as the narrative's conclusion. To be honest, it's worse. Had the directors shown the killer completing their last kills, even in silhouette or from the shadows, it would've alleviated some of the finale's awfulness. Because it doesn't, it leaves the viewer with the thought that the involved murders were thought of first - to entertain - and then O'Connor decided on the killer to add shock. I hope this wasn't the case because the film and story are decent until this moment. Another element that required attention was the pacing of the storytelling. There are distinct sections that would've benefitted from a varied tempo to add excitement and tension.
It's the cast that makes this picture so watchable. Everyone adds to the down-to-earth feel of the movie. Diana McLean as Val Meadows, Danny Adcock as John, and Daniel Cumerford as Joey are the stars of the show. These three perfectly portray an exceedingly dysfunctional family. It's all too easy to see and understand everybody's feelings in this microcosm of distrust. McLean carries an air of self-loathing and scepticism, which she hides under a tough and weary mask. John is strong, confident, and possesses the courage to challenge his mother. Joey is a loner trying to find his feet and purpose in his unfortunate world.
Had the climax been as robust and credible as most of the film, I wouldn't have hesitated to make this a 1-2-Watch. Sadly, as it stands, I must relegate it to an only watch if there's nowt better on your telly, phone, or tablet. But should your interest be piqued, feel free to search the interweb for it. It'll entertain you right until the climactic revelation.
Hey Piggy! After you've scrubbed this pig sty clean, you can read my IMDb list - Killer Thriller Chillers and see where I ranked Early Frost.
Take Care & Stay Well.
Story: 1.00 Direction: 1.25 Pace: 1.00 Acting: 1.25 Enjoyment: 1.00
TOTAL: 5.50 out of 10.00.
Oh, those Australians.
I love you guys and gals. You never shy away from telling a story like it is. And it's the gritty realism that makes this movie so damned good. However, it's a shame that the storyteller wasn't better skilled.
Terry O'Connor, who scribed this bold and bleak tale of murder and a dysfunctional family, could've done with a few more projects under his belt. I respect his choice to make the story as uncompromising as he could. On the whole, this approach works well and adds an insightful deepness into a deteriorated family life. Sadly, when the reveal and the climax arrive, the rushed feel of the narrative and lack of details destroys everything that came before. O'Connor gives us Val Meadows, wife and mother, but not a lover. The only reason Peter Meadows married her was so she could pop out his kids, feed them, and look after them when they were sick. When she fully realises what her present and future hold, she hears the call of the whiskey bottle - and Val is a vicious drunk. On one family outing, Peter teaches their son Joey how to swim. However, things don't go well, and Val irked by Peter's inability to teach Joey to be an Olympic swimmer in ten minutes, bestows upon his forehead a can of beer. Dazed and confused, Peter drowns as his family watch. Val informs the police that Peter was attempting to save Joey from drowning when he went under the water. The kids say nothing. Years later, the whisky still calls to Val while her kids call her every name under the sun. John, the oldest, lives his own life and is looking to get married - as long as his pig of a mother doesn't mess it up. Joey, still a kid and at home, takes to staying out and away from his mother most nights. Val knows all too well how her sons feel toward her. She even believes John is out to kill her. So when she gets zapped by an electric shock one night, she isn't too surprised when she comes around. But a few hours later, a stranger pays her a call: A private detective who's figured out that she may be a serial killer's next victim. From this moment onwards, we needed more clues to the killer's identity. Even if they were red herrings, they would've pulled me into the story further. And because of the reveal at the finale, the incidents become hard to accept, especially the private eye's exploding car. I needed some evidence that the killer had the skills to accomplish these murders. It didn't matter how good the story was or how well-written the individuals were. These positives got blown to hell in the last ten minutes.
The direction is fine. Nothing is outstanding or memorable about it. And, in truth, it's missing quite a lot, particularly at the movie's end. I am unsure if the ending was a victim of the census board or if the directors planned it this way. Whatever the answer, it's as horrendous as the narrative's conclusion. To be honest, it's worse. Had the directors shown the killer completing their last kills, even in silhouette or from the shadows, it would've alleviated some of the finale's awfulness. Because it doesn't, it leaves the viewer with the thought that the involved murders were thought of first - to entertain - and then O'Connor decided on the killer to add shock. I hope this wasn't the case because the film and story are decent until this moment. Another element that required attention was the pacing of the storytelling. There are distinct sections that would've benefitted from a varied tempo to add excitement and tension.
It's the cast that makes this picture so watchable. Everyone adds to the down-to-earth feel of the movie. Diana McLean as Val Meadows, Danny Adcock as John, and Daniel Cumerford as Joey are the stars of the show. These three perfectly portray an exceedingly dysfunctional family. It's all too easy to see and understand everybody's feelings in this microcosm of distrust. McLean carries an air of self-loathing and scepticism, which she hides under a tough and weary mask. John is strong, confident, and possesses the courage to challenge his mother. Joey is a loner trying to find his feet and purpose in his unfortunate world.
Had the climax been as robust and credible as most of the film, I wouldn't have hesitated to make this a 1-2-Watch. Sadly, as it stands, I must relegate it to an only watch if there's nowt better on your telly, phone, or tablet. But should your interest be piqued, feel free to search the interweb for it. It'll entertain you right until the climactic revelation.
Hey Piggy! After you've scrubbed this pig sty clean, you can read my IMDb list - Killer Thriller Chillers and see where I ranked Early Frost.
Take Care & Stay Well.