THREE BILLBOARDS OUTSIDE EBBING MISSOURI FULL MOVIE CRACKER
“I got issues with white folks too,” declares bozo cop Jason Dixon ( Sam Rockwell) after throwing someone out of a window – a bravura one-shot sequence pointedly orchestrated to the lilting strains of His Master’s Voice by Monsters of Folk.īeneath the cracker caricatures, however, even Ebbing’s most apparently unsympathetic residents have complex lives.
For Mildred, the Ebbing police force is “too busy going round torturing black folks” to solve crime.
Seven months after her daughter, Angela, was abducted and killed, Mildred Hayes ( Frances McDormand) emblazons the roadside billboards of the title with signs taunting police chief Willoughby ( Woody Harrelson) about the lack of arrests. When characters, struggling to make sense of all this chaos, utter platitudes such as “anger just begets greater anger” and “through love comes calm”, it seems less like a killing joke than a weirdly sincere mission statement. More importantly, he underpins the anarchic nihilism of his narrative with a heartbreaking meditation upon the toxic power of rage. The subject is no laughing matter, but as with his 2008 debut feature, In Bruges, McDonagh’s Chaucerian ear for obscenity provokes giggles, guffaws and gasps in the most inappropriate circumstances. Lacing a western-tinged tale of outlaw justice with Jacobean themes of rape, murder and revenge, McDonagh’s second American-set feature finds a grieving mother naming and shaming the lawmen who have failed to catch her daughter’s killer. L ife and death, heaven and hell, damnation and redemption collide in this blisteringly foul-mouthed, yet surprisingly tender, tragicomedy from British-Irish writer-director Martin McDonagh.
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