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Tragedy can take many forms and shapes. It can come in the form of an unexpected illness or the murder of a loved one. The above is the faint hope that Sheriff Willoughby (Woody Harrelson) can give Mildred Hayes (Frances McDormand) after the murder of her daughter has been unsolved for months. But Mildred is not one to wait 5 years for some random barroom gossip or someone's stupidity to wrap things up.
Three Billboards Outside Ebbing, Missouri follows the efforts of Mildred to spark Willoughby and the local police into action in order to bring justice, but also for her to have some sort of closure. Her strategy is to rent three billboards on an isolated road in town asking the sheriff for results. Unfortunately, this puts her at odds not only with many supporters of the sheriff, but especially with Dixon (Sam Rockwell), a loyal but racist deputy that's determined to stop Mildred.
This was the second McDonagh film I saw in the month. It's interesting to see the parallels in terms of tone as the writer and director skillfully juggles both tragedy and comedy. It kinda reminds me of Bong Joon-ho, who does so in the middle of serious dramatic films about murder, serial killers, or classism. McDonagh's script is clever enough to weave in and out of these tragic situations with effective humor, but without losing the dramatic weight of what has happened or what will happen.
I do think he goes a bit overboard from time to time, and some subplots are underserved, but overall, the character of Mildred keeps things grounded pretty well. McDormand adds yet another stellar performance to her resume, but it is Rockwell who steals the show with his performance as a loud-mouthed, alcoholic, racist, and abusive a$$hole. It is impressive how, despite boasting the traits of a despicable man, you end up caring for him.
Three Billboards Outside Ebbing, Missouri is one of those films that dares to take the story into some unexpected places. Regardless of how some of these detours work or not, I respect McDonagh's swings. Much like Mildred's strategy, it's still worth trying; even if it doesn't work, even if it ends up enraging others, even if it refuses to wrap things up as neatly as you would expect.
Grade:
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
(2017, McDonagh)
A film with the the number 3 (Three, Third, etc.) in its title
(2017, McDonagh)
A film with the the number 3 (Three, Third, etc.) in its title
"There are just some cases, where you never catch a break. Then 5 years down the line, some guy hears some other guy braggin' about it in a barroom or a jail cell. The whole thing is wrapped up through sheer stupidity."
Tragedy can take many forms and shapes. It can come in the form of an unexpected illness or the murder of a loved one. The above is the faint hope that Sheriff Willoughby (Woody Harrelson) can give Mildred Hayes (Frances McDormand) after the murder of her daughter has been unsolved for months. But Mildred is not one to wait 5 years for some random barroom gossip or someone's stupidity to wrap things up.
Three Billboards Outside Ebbing, Missouri follows the efforts of Mildred to spark Willoughby and the local police into action in order to bring justice, but also for her to have some sort of closure. Her strategy is to rent three billboards on an isolated road in town asking the sheriff for results. Unfortunately, this puts her at odds not only with many supporters of the sheriff, but especially with Dixon (Sam Rockwell), a loyal but racist deputy that's determined to stop Mildred.
This was the second McDonagh film I saw in the month. It's interesting to see the parallels in terms of tone as the writer and director skillfully juggles both tragedy and comedy. It kinda reminds me of Bong Joon-ho, who does so in the middle of serious dramatic films about murder, serial killers, or classism. McDonagh's script is clever enough to weave in and out of these tragic situations with effective humor, but without losing the dramatic weight of what has happened or what will happen.
I do think he goes a bit overboard from time to time, and some subplots are underserved, but overall, the character of Mildred keeps things grounded pretty well. McDormand adds yet another stellar performance to her resume, but it is Rockwell who steals the show with his performance as a loud-mouthed, alcoholic, racist, and abusive a$$hole. It is impressive how, despite boasting the traits of a despicable man, you end up caring for him.
Three Billboards Outside Ebbing, Missouri is one of those films that dares to take the story into some unexpected places. Regardless of how some of these detours work or not, I respect McDonagh's swings. Much like Mildred's strategy, it's still worth trying; even if it doesn't work, even if it ends up enraging others, even if it refuses to wrap things up as neatly as you would expect.
Grade: