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Ron's approach is immediately tagged as coldly institutional, a one-size-fits-all approach that underscores how horrific a time we inhabit, that such preemptive programming might seem appropriate.
But as the flashbacks bring the survivors together, they also separate them.
Another sort of loss drives the frightening transformation in Anne (Dakota Fanning), who watches her father shot in front of her.
If Carla's made-up sense of connection to Bruce leads to abject disconnection from her child, Charlie (Forest Whitaker), a customer at the diner, faces another sort of contradiction.Jimmy, who literally stops talking after the shooting, has another set of questions, having to do with his loyalty to Anne and his fear of disappointing his own father Bob (Jackie Earle Haley).The boy can't help assuage Bob's always-already fuming over another son, a soldier ruined by the war in Iraq and now languishing in a veterans' hospital, abandoned by the institution (the government) Bob holds responsible.The film points out that trauma is by definition overwhelming and treatments for it are elusive. So are rituals like funerals and memorials, brief respites from feelings of loneliness and guilt that inevitably resurface.Emotionally ravaged, morally confused, survivors muddle through.
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She's just witnessed a shooting massacre at the diner where she works as a waitress, and is understandably edgy and evasive.