Movies that focus on school shootings are often tacky and exploitative. From the Daily Wire-distributed Run Hide Fight to the controversial PureFlix movie I’m Not Ashamed, it is difficult to tackle such a sensitive topic in a way that does not feel like a cheap cash-in on somebody’s pain.
Perhaps that is why Fran Kranz’s transition from carefree character actor to feature-length director is so special. His directorial debut Mass is both about a tragic school shooting, but not at the same time. Set almost entirely in one room of an Episcopal church, it focuses on the aftermath of the tragedy and who is left to pick up the pieces. Businessman Richard (Reed Birney) and spiritual Linda (Ann Dowd) are the parents of an unseen school shooter named Hayden. Years after their son did the unthinkable, they have agreed to speak with the parents of one of Hayden’s victims, Jay (Jason Issacs) and Gail (Martha Plimpton). After uncomfortable greetings and small talk, both couples find themselves letting out emotions and thoughts they have had kept private for years.
Mass is, in many ways, an actors’ movie. All four main characters expel their most closely-held feelings about the event, with the movie steadily becoming a showcase of their acting ability. Thankfully, everyone is able to reel in their performances so that they do not become overly dramatic. Plimpton, in particular, is able to convey grief and anger in a relatively contained way. Watching her and Dowd exchange memories of their sons while also trading barbs at each other is truly electrifying.
It is easy to let a movie that follows such a heavy topic slip into moments of melodrama. However, the core four actors largely maintain realism. If it were not for their recognizable names, viewers might actually believe that they are real parents of victims. There are some moments in the script that definitely felt hamfisted, such as a somewhat-significant portion where the families debate the impact of video games on violence, but the delivery of these lines comes very close to canceling it out. Given Kranz’s experience in theatre and the difference between line delivery in both film and theatre, this is not surprising.
Something that might surprise viewers that have grown accustomed to distasteful depictions of school shootings in cinema is the fact that the event is never actually shown. In fact, neither Hayden nor Jay and Gail’s deceased son Evan are seen in the photographs the couples share with each other. While there is a moment in which the angry Richard lists off victims’ names and their fatal injuries, the characterization is largely told to the audience. This is a smart move from Kranz and ultimately is a defining factor that makes Mass so different from other related movies.
However, the film’s main problem is that it continues to perpetuate the “lone wolf” narrative that surrounds many school shooters. To Kranz’s credit, there are some subversions to this narrative that included Hayden having friends and previously seeking mental health treatment. Unfortunately, him being lonely and immersing himself in video games are seen as major reasons as to why he eventually decided to attack his high school. In the wake of events like Parkland, the lone wolf narrative has been under scrutiny as an excuse rather than an explanation. Thus, Mass inadvertently categorizing Hayden as such might raise some eyebrows.
That being said, this characterization is still treated with nuance and care, much like many other aspects of this movie. Thanks to its powerful performances and smart handling of its subject matter, Mass ultimately succeeds in portraying the aftermath of a mass school shooting in a way many of its contemporaries have failed to do.
