Brent Marchant 2025, Apr 09

When a terrible domestic tragedy strikes a seemingly “normal” family, how do its members pick up the pieces and carry on? How are they to resolve their grief while dealing with the bitter backlash of others, some of whom have no connection to the incident in question? And is there responsibility or blame to be leveled against one or more of the individuals at the center of this calamity? Those are among the questions raised in this intense directorial debut from actor Michael Shannon, the story of a household torn apart when troubled teenage son Eric (Nation Sage Henrikson) shoots and kills three classmates at school one day in what appears to be a cold, unanticipated, matter-of-fact fashion. The incident leaves his parents, Janice (Judy Greer) and Ron (Alexander Skarsgård), to sort out matters and attempt to carry on with their lives. That’s easier said than done, however, given their respective responses to the event, reactions that affect their relationship, their work lives and their participation in proposed interventions by their pastors, Janice’s genial but largely inept Presbyterian minister (Paul Sparks) and Ron’s dubious fundamentalist preacher (Tracy Letts). While Janice struggles to find clarity in a sea of confusion, Ron believes everything can be made better by simply handing off his troubles to Jesus in what amounts to little more than an act of denial and an abrogation of his willingness to address what happened, an attitude politely but intrusively encouraged by his fellow parishioner and co-worker, Lisa (Allison Pill), whose interest in Ron’s “well-being” apparently extends beyond his spiritual healing. Then there are the differing reactions (or lack thereof) of the victims’ mothers (Jennifer Engstrom, Annie Parisse, Kate Arrington), who exhibit a range of emotions and behaviors that complicate matters even further. And, in the meantime, Eric sits alone in prison, receiving visits from no one, including his own parents. The gripping presentation of this story has an edge-of-the-seat quality that one might not typically find in a story like this, especially since resolution of the issues presented here always seems out of reach. But therein lies the captivating nature of this story, as it keeps viewers continually guessing what will happen next, especially when it turns in unexpected directions. In doing so, the film once again raises questions about the reasons and means behind teen violence, observations not unlike those brought up previously in such offerings as “Mass” (2021) and “We Need to Talk About Kevin” (2011). And, because of that, this can indeed make for an uneasy watch for sensitive viewers. Nevertheless, those who can handle such a degree of intensity are bound to be thoroughly impressed with this picture, most notably its fine ensemble, particularly Greer, Skarsgård and Pill, who deliver performances that reveal acting chops not seen before. “Eric LaRue” is also one of the finest stage-to-screen adaptations I’ve ever seen, successfully sustaining its pacing and narrative flow, never coming across as the least bit stagey, a true credit to screenwriter Brett Neveu in adapting his own play. To a great extent, this is made possible by the script’s deft inclusion of comic relief, effectively incorporated just when it’s needed most and held back when the dramatics need to take over for maximum impact. This 2023 production has admittedly been long time in coming to the big screen, but the wait was definitely worth it. Shannon has made an impressive debut with this offering, and I look forward to whatever directorial projects he comes up with next.