Frances McDormand gives another incredible performance in this extraordinary picture that is a gut punch emotional rollercoaster the whole way through, chocked full of laughter, tears, and thought provoking hard questions backed with an extraordinary supporting cast that makes this film one of the best in recent years.
Dealing with themes of personal responsibility, social accountability and small-mindedness, McDonagh deviates from convention by going places most films are afraid to explore. His humor is dark and his violence strong, both being perfect vehicles to accentuate the chaos of interconnected lives, which the filmmaker uses to further dissect his nihilistic point of view. Scribes like McDonagh are few and far between.
"There's no God, the whole world is empty, and it doesn't matter what we do to each other." The McDonagh creed, or question, is laid out more starkly than ever in the bathos-addled prankster-nihilist's latest salvo. Or just more self-importantly--its insights into the politics of race, class and justice are wincingly thin. Still, McDormand's suffering mother is a welcome new wailer in the director's vale of tears.
~2.5. Bewildered by the reception of this superbly confused film. I'm all for gut-wrenching black comedy — it's some of the most honest storytelling there is — but 3BOEM oscillates between score & soundtrack, handheld & awkward tracking, etc. almost lazily and certainly without much coherence. It has its moments (McDormand is brilliant as ever) but is too messy to make any real impact —
comedically or dramatically.
Without question, the darkest, most audacious film of Martin McDonagh's film career to date. But also one of the sharpest and a film that pulls absolutely no punches, featuring some of the year's best performances from its three leads.
I was surprised to hear it won the People's Choice Award at TIFF right before I saw it at TIFF, but hey, it's fucking fantastic. Martin McDonagh can take all the time he needs to make his movies if they come out this good.
An outrageously heart-wrenching tale of comical obscenities and horrific tragedy that unearths the suppressed anger and pain in shattered lives and explodes into violent vulgar chaos with no simple path to repairing the damage done. Martin McDonagh demonstrates again his knack for combining outrageous humor and grisly violence to bring out the crude broken spirit of humanity that collides with violent catastrophes.
Three Billboards has its thematic finger on the pulse of racism, sexism, and–hidden beneath those relevant topics–the process of coping with death. It's present throughout every important character; and although it's not my favorite of McDonagh's directorial ventures, its message stays with you long after the credits roll. Also, Frances McDormand's performance is incredible.