Page 2 - Michellen Carter News Today

The piercing traumas of school shootings, when they’ve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors can come off as insincere, even exploitive. “Mass,” Fran Kranz’s meditative chamber piece, is a sober and wrenching exception. Kranz’s film, the veteran actor’s first…

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

The piercing traumas of school shootings, when they've made it into the movies, have seldom carried quite the right tone

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

The piercing traumas of school shootings, when they've made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors can come off as insincere, even exploitive.

The piercing traumas of school shootings, when theyve made it into the movies, have seldom carried quite the right tone. Even the best intentions in wading into such tragic horrors

In Mass, Fran Kranzs heartbreaking, poignant, rage-filled howl of a directorial debut, the American plague of school shootings is given four faces, four people, four parents. They sit in a room in a church, a quiet place for them to exchange pleasantries, hand over a little flower arrangement, and then tear themselves open in keening, wailing pain. Kranzs script finds these survivors in a place beyond simple anger, or hatred, or grief. For years, Gail (Martha Plimpton) and Jay (Jason Isaacs) h...