Michael Shannon directs an adaptation of Brett Neveu’s 2002 play about a mother coping with the fallout after her son murders three of his high school classmates. Janice (Judy Greer) is struggling; she moves through life as if in a haze, unable to let go of her anger and frustration. While her husband (Alexander Skarsgård) has found refuge at a new church, Janice finds it hard to seek solace in her faith despite her pastor’s pleas to heal her wounds by meeting with the mothers of her son’s victims. As Janice ponders what that meeting could achieve for her and her community, Eric LaRue asks audiences to witness the frayed emotional ripples that violent acts can engender. Anchored by Greer’s deeply arresting performance, Shannon’s directorial debut grapples head-on with frustratingly timely conversations about who deserves our compassion and grace. Standout supporting turns by Tracy Letts and Alison Pill, who capture a subtly unnerving vision of spiritual fanaticism, stress the film's interest in complicating facile views of atonement and forgiveness in light of such tragedies. 源自：https://tribecafilm.com/films/eric-larue-2023
虽然电影手法不怎么高级，但是仍然声情并茂的拍出了一神教社会的本质：无意义的弥合，对人无底线的催眠，弱智般的谅解，废死派虚假的救赎，和基层治理的彻底失能。基督教的愚民逻辑和矛盾化解策略，也许并不被导演所批判，但仍能让作为旁观者的唯物主义社会看的更清楚形象了一些。
挺好的角度，白瞎了
美国校园枪击案后。
从凶手父母的视角反思叛逆青少年的成长，小镇家居卖场里，枪械柜台就在花盆和蜡烛旁边。全片压抑，弥漫有毒感。
少年犯的父母在认清现实过程中的种种挣扎努力，执拗的妈和寄托于宗教的爸。题材初衷不错，但是拍得特无聊。演员演绎得一般，重头戏的母亲这里老是有一种拖沓感，没演出试图逃避现实的脆弱和努力认清现实挣扎，反而一直有种欠欠的、令旁观者感到不快的高傲姿态。欲语还休的情绪充斥全场，直到结尾还是吊着一口气的感觉，看完都觉得不舒畅。