4 stars for Frances McDormand's powerful performance. 2 stars for the implausible 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.
McDonagh is a master of dark comedy. This is probably his most grounded and emotional story but peppered with some of his most shocking, disturbing moments. The range of emotions I felt for every character was pretty remarkable. You don't really "root" for anyone. No character is really in the right. All you can do is wait to see how the conflict will rise to the next level.
artificial, stagey, characters exchanging witty repartee for no reason other than to milk laughs, using the n-word as a joke, using a little person as a punchline, characters as mouthpieces for Concepts, poor and ignorant handle on police violence against the black community, three long and annoying letters recited over voice over, dumb ending, most egregiously shouted name since MARTHAAAA
This is a rare film that managed to meet my expectations, yet defy them at the same time. It met my expectations in that it features McDonagh's trademark clever (and delightfully profane) humor, as well as a performance by McDormand that's beyond excellent. Yet, while it is consistently funny, it also successfully tackles heavy themes like obsession and forgiveness, while the story unfolds in very unexpected ways.
Ignore those writing this off as a cheap 'cash-in' on today's political climate; it's as timeless as it is timely, and anything but cheap. McDonagh's setup is a fascinatingly ambiguous, complex and crass high-wire act to rival "The Pillowman," guided by peerless performances.
Martin McDonagh's film is a very entertaining film that is well acted and well written. However I think the film's central problem, which keeps it from being something special, is the staginess of it and McDonagh's lack of visual creativity, leading, at least for me, to have a less impactful and lasting film. Overall, I think its good, but not great.
Audience pleasing film whose script is being over praised but definitely features some very strong performances that will feature in award season honours. McDormand is brilliant here with her meatiest role in years but the turns by Harrelson and especially Sam Rockwell deserve recognition as well. McDormand's dressing down of the local minister is sublime.
Waxing all 'hot topic' ain't gonna change that again and again McDonagh is in the business of making "edgy" pop entertainment that goes broad as hell and thus, often as not, comes off pretty cheap. I image THREE BILLBOARDS plays the audience like a fiddle. I, alas, am not the "audience." There is a more than credible cast here, however. They come in real handy. And though it is super suspect, it isn't not kinda fun.
After years of making entertaining dark comedy ensembles, Martin McDonagh's style culminates into a tonally perfect picture with "Three Billboards." Themes of accountability and guilt intertwine so unexpectedly well with snapshots of institutionalized racism, and Frances McDormand and a surprising, late metamorphosis of Sam Rockwell and his character propel it to new heights. One of the year's best and most enjoyable
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.
"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.
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.
very damn good, 4.5. everyone is excellent in this but Sam Rockwell nearly steals the picture. McDonagh has probably made his best film here and I'm saying this as a huge fan of In Bruges. the screenplay surprises, the dialogue is written very well also being frequently hilarious despite the subject matter. of course Frances McDormand is great as usual.
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.