Is three billboards outside ebbing missouri
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I found myself caught off-guard by the emotionality rippling through McDonagh’s otherwise searing hot humor. A speech he gives about decay loosed many a tear in my audience. Even at his own expense, Willoughby is one of the few in this town willing to chuckle, his impending brush with mortality (a stage-4 cancer diagnosis rapping harder and harder on his doorstep) allowing him a fresh perspective on the oxymoronic immense meaning/blind triviality of life itself. Since we’re calling out performances, a tip of the hat to Harrelson as well who remains the sturdy moral center of the film and its welcome narrator. But he, like every character in McDonagh’s construction, is a layered character, one who unfurls in curious, unpredictable ways and Rockwell is flexible and fantastic in the role, as he is known to be. Local advertisement procurer Red Welby ( Caleb Landry-Jones, good here) finds this out the hard way when he doesn’t bend to threats to take down the titular billboards.
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No evidence of this is immediately apparent, his moral authority highly questionable following accusations of racially-based assaults and a tendency to lean on physical tactics when townsfolk don’t act the way he likes. Perhaps the most rattled is Sam Rockwell’s Dixon, a hot-tempered drunk police officer who Willoughby keeps on the force because he claims, despite his many obvious shortcomings, the young man has a “good heart”. A swell running through this otherwise quiet community that bucks the norm, shaking loose the worst in its inhabitants.
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After buying up a triptych of billboards that accuse Sheriff Willoughby ( Woody Harrelson) of not doing his due diligence in the aforementioned case, sparing no detail of the brutality of the slaying on her freshly purchased signage, the town goes berserk at the defamation of their beloved law enforcer.
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Her corpse burned, no suspect was ever gleamed. Frances McDormand is phenomenal as Mildred, a no-holds-barred mother seeking justice by any means after her daughter is raped and murdered. McDonagh carved out a name (and won himself an Oscar in the process) writing and directing 2008’s also darkly comic and borderline brilliant In Bruges and though he appeared to have lost a little edge with his sophomoric follow-up Seven Psychopaths, McDonagh is back on top again, right in his element serving up a darkly witty, gasp-inducingly violent and cuss-filled crime film that proves to be delicate and at times overwhelmingly emotional. This is the set-up for a crime saga unlike any other, McDonagh’s film a foul-mouthed mystery brimming with colorful characters, its jet-black tone and surprising emotionality capable of causing fits of laughter and bouts of urgent somberness in what is one of the best films of 2017. There are many words you can’t say on a billboard but in Martin McDonagh’s darkly comic and borderline brilliant Three Billboards Outside Ebbing, Missouri calling out the local sheriff for failing to bring to justice a rapist, arsonist and murderer is fair game.