After months have passed without a culprit in her daughter’s murder case, Mildred Hayes makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby, the town’s revered chief of police.
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A film that has to be understood more within the context of Martin McDonagh's oeuvre than the current sociopolitical climate of the USA. McDonagh's USA is fake and manufactured for the film's needs (like Bruges was for In Bruges), and his narrative doesn't unravel focused on a social commentary but as a successful mishmash of human emotions at extreme levels of anger and resentment.
Man, this one left me conflicted, and not in the ways it intends. The film is written and acted like a stage play (McDonagh is a playwright) and its "America" feels inauthentic (McDonagh is a Brit). It carries itself with a baffling glibness that keeps muddling the tone or tripping over itself. Yet it goes to a place I admire so much that what began as a dutiful Oscar chore turned into genuine fulfillment.
a movie made for npr listening liberals to rave about and feel good about themselves with a forced fairytale "coming together" narrative while also mocking small town stereotypes in a mean spirited way for cheap humor...ultimately nothing really to think about.
[Mildred Pierced.] I stand corrected: McDormand is probably, as of now, the strongest contender to get the Oscar. Her performance is otherwordly, nuanced, subtle, moving, ragey, fiery, sassy, sarcastic, hellbent on bringing down the patriarchy in a more head-on manner than 'Molly's Game' ever could in a leave-no-witnesses-breathing kinda way. It is politically "correct" (fair) by being totally politically incorrect ▽
Digital. A complex and ambivalent script - rare in current North-American cinema - full of references to a bipolar society, simultaneously orthodoxly discriminatory and tempted by political correctness -, with a group of exemplary actors functioning in harmony, illustrated in an artsy way, with a reasonable amount of irrelevance.
Redemption of the rednecks. Is it a good movie? Yeah, kinda. Is it a great movie? Nope. Frances McDormand is a treasure, here channeling the same tough-but-smart-working-class-matriarch that she played in the exquisite "Olive Kitteridge"... a character that you root for and follow with close attention, riveting equally in moments of badass-ness and vulnerability. The rest of the film was... OK.
embarrassing and manipulative. The film doesn’t care for its characters bar sam rockwell’s ‘redeemed’ policeman and uses the horror of rape as a subplot to explore this which seems in poor taste. also the hints at police brutality towards people of colour is so underexplored and only used another way to redeem him and to add some 'witty' racist dialogue. fuck this film, mcdonagh is a hack!!
3 stars for Frances McDormand. 1 star for the implausible and over-the-top plot which completely derails in the final act of the film. Frances McDormand's character of a tenacious mother struggling to discover who raped and murdered her daughter is the heart of this movie. Unfortunately there is too much emphasis on making one of the racist redneck cops some sort of hero. Absolutely disappointing ending.