“Everybody is with you about Angela,” the local padre informs her. She does so, despite the whole town being against her – not only because of the blunt, graphic nature of the adverts, or her brash disposition, but the fact that she continues her quest in the face of Chief Willoughby’s own tragic situation. McDormand is magnificent, anchoring the whole thing in the second career-defining turn of her career (after Fargo), and the striking contrast between those two equally strong characters only reinforces the film’s power: where Fargo’s detective was an optimistic, resilient figure, Mildred is racked with grief and fury, fighting through it to bring about punishment for an unspeakable crime. It’s a very public cry about a very private matter, one of anger as much as pain, and Martin McDonagh’s film succeeds precisely because it leans into all of those extremes – it’s a mess of rage, tragedy, revenge and justice, one that doesn’t shy away from the complexities of each, but does shy away from easy resolutions or comfortable footing. “HOW COME, CHIEF WILLOUGHBY?” demands the third.
“STILL NO ARRESTS?” questions the second.
With no one brought to justice over half a year later, she takes matters in her own hands, hiring three billboards outside her titular hometown to send a message to the cops. The film follows Mildred Hayes (Frances McDormand), a mother whose daughter is brutally killed.
And heartwarming stories of redemption are as far away from the In Bruges director as romantic comedies are from Michael Haneke. But if that sounds like a clear-cut message from a heartwarming story of redemption, you’re forgetting one thing: this is a Martin McDonagh film.
Hate never solved nothing.” That’s Police Chief William Willoughby in Three Billboards Outside Ebbing, Missouri, a dark drama inspired by a true story that won two Oscars. Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, Abbie Cornish, Peter Dinklage, John Hawkes
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