Within the first few moments of Frost, we’re treated to sweeping, gorgeous shots that pan over snow-covered mountains, and instantly we know exactly what type of setting we’re going to be immersed in. Directed by Brandon Slagle, Frost is a survival thriller that pits young, pregnant Abby (Devanny Pinn) and her estranged Father, Grant (Vernon Wells) against the elements after a serious car accident. 

When we first meet Abby, she’s en route to see her father after five years of non-communication. She’s neglected to tell him she’s pregnant, a surprise that can’t be hidden once the two reunite. After a brief few scenes of tense back and forth between the two, where they toggle between bitter resentment and loving forgiveness, they decide to head to the lake the next day to further reconnect. Their trip takes a dramatic turn after their car veers off the winding road and down an embankment, teetering precariously over the edge. Abby is not only injured, but also pinned inside, so it’s up to Grant to trudge through the wilderness in search of help. There’s also an incoming snow storm about to hit the area, making their situation all the more dire. 

Frost transitions seamlessly into a single-location survival thriller at this point, as we jump between being in the car with Abby, to following Grant as he treks through the snow. The main focus though is with Abby, who is not only hurt badly, but also having complications with her pregnancy, brought on from the accident. It’s one of those stories that capitalizes on evolving the predicament she’s in from bad, to really bad, to what else could possibly happen bad. All the while, we’re right there inside the car with Abby as she endures it all, in claustrophobic, anxious fashion.

At just under 90 minutes, this is a very taught, tight little movie that thankfully cuts to the chase fairly quickly after doing the requisite character studies. For the majority of its run time, this very much feels like a typical, albeit intense story about surviving at all costs. It’s in these moments that Frost is strongest, making you breathless as Abby’s condition, and the elements around her, drastically get worse. It’s only during the final act, when it inexplicably takes a severe turn that it loses steam.

To elaborate any further would be giving too much away, but suffice it to say, the development is so jarring that it borders on absurd. While it’s clear the filmmakers were going for shock value, it’s difficult to understand why. In many ways, the movie would have been stronger without any of it. The vast majority of audiences will be tuning in expecting one kind of story, while getting served another at the last minute. While the payoff from this can work well if it’s done right, in this case it just ends up feeling…wrong.

You’re certain to be left sitting in stunned silence as the credits roll wondering what you just watched, and that’s obviously what the creators are going for here, but where the uncertainty comes in is how many will be satisfied with that. 

Pinn is absolutely the anchor for most of this, putting on a pained, convincing, desperate performance that’s emotionally captivating. She doesn’t overdo it, but instead delivers an unshakable level of authenticity that cuts right through you. Abby feels like someone you’d know, which only increases the level of tension. The cinematography is also noteworthy, providing cramped, suffocating shots while inside the car with panoramic, striking views of the wilderness outside. Just when you feel like conditions are getting too confined, they’ll switch back outside to give you a breather.

Overall, although there’s definitely intelligent moments and natural, compelling performances throughout, the final act of Frost may serve as the nail in the coffin for those who were expecting to get a certain type of story and payoff with this.

5 out of 10