Three Billboards Outside Ebbing, Missouri has one of the best story lines and some of the most interesting and complex characters and performances I’ve seen in a long time.
Most importantly, it has Frances McDormand in the lead. And in honor of rare female-centric films such as Three Billboards, I’ve decided to let this movie post be female-reviewer-centric as well.
Watch this trailer, which sets up the Three Billboards premise (and colorful language) really well:
Moira Macdonald, Seattle Times, describes the basic plot of Three Billboards Outside Ebbing, Missouri:
[McDormand] plays Mildred Hayes, a no-nonsense woman (she dresses, every day, in a navy-blue jumpsuit; the sort worn by plumbers or mechanics) who’s out for revenge. ‘I’m Angela Hayes’ mother,’ she says, in a voice so low you could jump over it. Her daughter, seven months ago, was raped and murdered by an unknown assailant; Mildred, frozen in clenched-jaw heartbreak, needs to know who to blame.
Mildred pays for three empty billboards to make the following statements:
- “Raped While Dying.”
- ″And Still No Arrests?”
- ″How Come, Chief Willoughby?”
More about Mildred’s process, as expressed by Manohla Dargis, New York Times:
The billboards turn that grief into a weapon, a means of taking on the law and assorted men — a threatening stranger, a vigilante dentist and an abusive ex (John Hawkes) — who collectively suggest another wall that has closed Mildred in.
Dana Stevens, Slate, adds to our understanding of Mildred:
…(T)hough Mildred makes many choices that are reprehensible or downright dangerous, McDormand never fails to convince us of the fundamental decency of this woman, a tragic heroine struggling to find even the tiniest scrap of meaning in a comically awful world…Mildred is a tough person to be around…there are moments late in the movie when she commits acts that push at the limits of audience sympathy and goodwill. But McDormand, at age 60 one of our most gifted and least calculating actresses, fearlessly challenges us to love her character anyway.
How does the police department deal with Mildred? Kate Taylor, Globe and Mail: “The decent Willoughby (another finely crafted portrait of sympathetic masculinity from [Woody] Harrelson) tries to pacify her and rein in the most vicious of his officers, the explosively racist Dixon, played by Sam Rockwell in full psychopath mode.”
April Wolfe, Village Voice, addresses dynamics that ultimately may leave some viewers dissatisfied:
[Director] McDonagh painstakingly humanizes a character who we find has unapologetically tortured a black man in police custody. And then Three Billboards Outside Ebbing, Missouri seems to ask audiences to forgive and forget wrongs like police violence, domestic abuse and sexual assault without demonstrating a full understanding of the centuries-long toll these crimes have taken on victims in real life.
There’s another problematic issue too. The Globe and Mail’s Taylor: “If the film fails to solve Dixon’s emotional puzzle, another one that remains troubling is Mildred’s relationship with her teenage son, Robbie (Lucas Hedges), the only remnant of her family and link to her motherhood, yet apparently an afterthought in her crazed planning.”
Nevertheless, this is a movie, one with overall positive reviews, that makes you mull such things over. In closing:
...(T)here’s no better time than right now for a high-profile movie led by a meaty, complicated female character — and no better actress than McDormand to take it on. And you can put that on a billboard. Jocelyn Noveck, Associated Press, regarding Three Billboards Outside Ebbing, Missouri
…just the bitter pill the times call for, offered with a loving cup to make it go down just a bit easier. Ann Hornaday, Washington Post
…a cathartic wail against the zeitgeist of rape culture and state brutality. It’s a rallying cry, a right hook to the jaw, and wow, does it ever hurt so good. Katie Walsh, Tribune News Service