Film critics could argue that certain films prove challenging to review. Hearing that statement may lead fans to assume one thing: that a film is bad. Bad movies are the hardest to review because there’s only so much to say about them. That statement can be stretched further into the subject matter of a given film. That does not mean it is bad, but it is something that demands a lot from its viewers. Michael Shannon’s directorial debut, Eric LaRue, fits that category of a demanding, but emotionally resonant experience.
The story follows Janice (Judy Greer), the mother of a high school shooter who shot and killed three of his classmates. Dealing with the emotional scars of the tragedy, Janice is forced to deal with the fallout and mourning of those around her. This includes her husband, Ron (Alexander Skarsgård), who goes on his spiritual journey. What follows is a film that wrestles with serious topics and themes, including crises of faith. The results deliver something that is often thought-provoking and occasionally absurdist.
What cannot be stressed enough about Eric LaRue is that it is not an easy film. It’s something that wants audiences to live with its characters and their distress for 119 minutes. Based on a play of the same name by Brett Neveu, it’s a story that relishes conversations over actions. Every character interaction is loaded with a rich, monologue-like quality. For some viewers, those long conversations could feel self-indulgent. That opinion is entirely understandable and might be enough for some to avoid it all together.
It will be easy to decipher immediately if you feel self-indulgence in the story. That could have made Eric LaRue a dreadful viewing experience in the wrong filmmakers’ hands. Such statements do not mean it would’ve been a bad film, but something relentlessly dour throughout. Thankfully, that is not the case with the finished product, particularly with the combination of its cast and the first-time director behind it.
Shannon’s eye as a filmmaker feels fresh in this modern film age. He has worked for some time and has a clear understanding of what a story like this requires. That means setting up the camera and letting his actors do their thing. Shannon offers a subdued approach, focusing on actors over flashy filmmaking. He knows how to step back and not get in his actors’ way. This methodology proves effective with a cast of such a high caliber.
You may recognize Judy Greer but not know her name right away. This is one of her first leading roles, and it requires serious range. Greer creates something special as the titular character of this story. The performance unfurls itself as it goes on, building emotionality along the way. She starts as someone quiet and occasionally subservient to those around her. As the film progresses, she begins to find her voice. By the time the credits roll, you feel like you’ve done more than just see a character deal with trauma. Instead, you see someone grow into their person. It’s a beautiful performance, with a natural arc, that feels satisfying by the end.
On the flipside, Alexander Skarsgård’s performance follows a different method. Instead of something quiet and internal, his character, Ron, searches for purpose. That purpose comes in the form of faith from motivational preacher Bill Verne (Tracy Letts). You see Skarsgård looking for enlightenment from this trauma and trying to reconcile with this tragedy. Similarly to Greer, it becomes interesting to watch Skarsgård look for peace. While it’s played for sardonic laughs (particularly with actress Alison Pill), it’s an interesting perspective to see how someone deals with grief. Skarsgård’s character deals with the central theme Eric LaRue wants to convey in many ways: faith.
If there’s any criticism of Eric LaRue, it would have to go to the supporting performances. That is undoubtedly not the actors’ fault, as they’re all effective in their own right. Though in the grand narrative, they simply serve as pieces to move forward our main characters ’ journeys. Actors like Tracy Letts and Paul Sparks feel like more religious ideas than characters. Both characters feel like belief systems for Janice and Ron instead of fleshed-out characters. The standout of these supporting performances would have to be actress Annie Parisse.
Parisse stars as one of the grieving mothers from the school massacre. While having minimal screen time, she has one scene with Greer that summarizes every theme and idea the film wants to explore. It’s a powerful back-and-forth that I simply could not look away from. It’s a challenging and honest conversation that does not feel like a piece of “acting.” Instead, it feels like a real conversation that most likely happens in the fallout of these events.
At its core, the film forces the characters through a crisis of faith. Janice and Ron search for their faith in different forms and places. Having a film that is willing to go to those places offers some fascinating discussions. Such moments prove the strongest elements of the story. Shannon was a director who wisely let these conversations sink in with viewers. There are no quick cuts, but a steady camera makes each word resonate. Particularly as emotions rise, the conversations leave audiences thinking. For this sort of film, it crafts a resonant experience.
Eric LaRue is by no means an easy viewing experience. The film wants to challenge viewers, dealing with heavy concepts and ideas. If you’re willing to accept the challenge, there’s a lot to like here. Michael Shannon focuses on subtlety as a director, letting the actors speak for themselves. Add in the masterful performances of Judy Greer and Alexander Skarsgård, and the results are quite impactful. While it’s hard to recommend, Eric LaRue offers plenty of rewards for watching. That is, if you’re willing to deal with the heavy emotional challenges the film wants to convey.
Eric LaRue is now in theaters and on digital.
Learn more about the film, including how to watch, at the official website.
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