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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If McDonagh had not let the sin of pride interfere and had, for instance, cut the pious, godlike speech Sheriff Willoughby (Woody Harrelson) delivers to the racist Dixon in voiceover from beyond the grave, he would not have come off as so manipulative and clueless. A little humility goes a long way.
The reason to do any barking — well, the reason for me — is that “Three Billboards” feels so off about so many things. It’s one of those movies that really do think they’re saying something profound about human nature and injustice. It’s set in the country’s geographical middle, which should trigger a metaphor alert. . . . Individually, not one of these choices qualifies as a disaster. But they’re conflated here in a way that achieves a grating otherworldliness.
What places Three Billboards in a higher emotional register than its two predecessors is the tragic poignancy of Angela’s death and the sincerity of the sorrow Mildred expresses to Willoughby and Anne. The late rapprochement between Mildred and Dixon . . . begins when he tells her where they can find the rapist drifter who has menaced Mildred and beaten up Dixon. It turns into something much more hopeful when they confess to each other that they’re uncertain whether or not they’ll kill him.
[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 ▽
McDORMAND & HARRELSON acting is impressive. But made to please & manipulative clichés (anticlericalism, police violence, midget, black sheriff in Missouri, hospital room) weaken the story = Le jeu de McDORMAND & HARRELSON est impressionnant. Mais des clichés manipulateurs (anticléricalisme, violence policière, nain, shérif noir débarquant au Missouri, chambre d’hôpital) affaiblissent 1 histoire déjà compliquée.
Just when you think it’ll emerge itself into sociopolitical commentary about Black Lives Matter vs Blue Lives Matter, it turns into a study of human behaviour driven by anger and vengeance in search for righteousness and justice.
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.
Well-constructed film in the episodic unfolding of the tragedy that haunts McDormand's character. The interlacing of her drama with the rest of the characters connects well the threads of a community in disarray; and, ultimately, it salvages a tiny moment of 'forgiveness' as opposed to the deeply resentful proclivities in such small communities. Not a masterpiece, but not mediocre either. A good meditation on anger.
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.