Superb, anguished performances by Jason Isaacs, Martha Plimpton, Reed Birney and Ann Dowd anchor Fran Kranz's assured writing-directing debut.
“Mass,” Fran Kranz’s somber, stirring writing-directing debut, unfolds over roughly two hours at a small-town church where two middle-aged couples gather for a private and intensely painful reckoning. The movie’s title evokes a religious service; not coincidentally, it also brings to mind a term that has been a depressing fixture of American headlines for decades . Several years earlier, we learn, these characters’ lives were shattered by a mass shooting at their children’s high school.
“Mass” has something different in mind, and not just because it takes place long after an eruption of violence that we are forced to imagine rather than witness. Kranz, a longtime actor making a startlingly assured shift into feature filmmaking, appears to have little interest in the tidy assignment of blame, though myriad possible causes — bad parents, school bullies, violent video games, easily accessible firearms — are summarily raised in passing.
Until Gail reaches her breaking point and the floodgates open, her reluctance to speak feels like a pointed rebuke to Linda, whose own emotions gush forth with comparative ease. Her instinctive empathy can be both heartrending and mildly annoying in a movie that invites you to adopt each character’s perspective in turn . But those perspectives themselves change over the course of the story, and Dowd, a virtuoso at turning on the waterworks, also knows precisely when to turn them off.
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