It is both unsettling and distancing and feels like a cop-out. What didn’t work for me was the open-ended finale. You might become deeply uncomfortable but you can’t look away. Peter Dinklage plays an admirer who gets Mildred out of a sticky situation yet she has no problem calling him midget. She is caustic and in places, frankly unlikable. Of course McDormand makes this impossible. The film centres around youll never in a million years guess three red billboards being put up outside Ebbing, Missouri. He pushes the characters as far as he can, especially Mildred, almost as if he is daring you to withdraw your sympathy. Three Billboards is the third feature directed by playwright and filmmaker Martin McDonagh. And then there is the Chief himself – a good man in an impossible situation, played with great empathy by Woody Harrelson. Mildred’s difficult quest is made harder by Dixon, an incompetent, racist cop played by a terrific Sam Rockwell. Mildred is past shame or scruples and doesn’t want affection or pity. At one point, she tells the Chief: pull blood from every man in the country. She will stop at nothing to get the man who did this to her daughter. Mildred – a powerhouse, Oscar-nominated performance by Frances McDormand – is a force of nature that cannot be controlled. This film doesn’t follow any rules of engagement. Written and directed by Martin McDonagh, the Irish playwright who made In Bruges and Seven Psychopaths, Three Billboards Outside Ebbing, Missouri begins like a classic David-versus-Goliath story.
THREE BILLBOARDS OUTSIDE EBBING MISSOURI REVIEW SERIES
She rents three billboards and puts up the following messages – ‘RAPED WHILE DYING’, ‘AND STILL NO ARRESTS’, ‘HOW COME, CHIEF WILLOUGHBY?’ The billboards put into motion a series of events that are at once, tragic, comic, violent, tender and heartbreaking. So Mildred decides to push the police into action. Seven months later, all leads have gone dead. This is the story of Mildred Hayes, whose daughter was brutally raped and murdered. Instead, it both sears your soul and leaves you unsatisfied. It doesn’t provide any comforting answers. What is the boundary of a mother’s rage? Exactly when does the desire for revenge become corrosive? Can grief twist a person so completely that it becomes difficult to sympathize? Three Billboards Outside Ebbing Missouri grapples with these difficult questions.
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