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Oh, we get a few nice characters, but most of the locals seem unpleasant, and they toss around derogatory comments as easily as they breathe air. It also doesn’t help that McDonagh opts to make Ebbing a stereotypical hick town with bigots a-plenty. Unfortunately, he does so in an inconsistent, ham-fisted manner that lacks nuance, partly due to those cheesy stabs at humor.
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Writer/director Martin McDonagh clearly takes many cues from the Western genre, and he paints the film as a modern-day update on the themes of tales like The Searchers. I think that’s a shame, as Billboards could’ve turned into a bracing treatise on the impact of grief and a quest for revenge. If we don’t connect to Mildred, we don’t dig into her journey, and that robs the film of momentum and impact.
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This leaves the movie with a hole at its core. Indeed, flashbacks show her to be just as acerbic and acidic before the tragedy that haunts her. It would be easy to ascribe Mildred’s prickly nature to her grief, but I don’t sense that her daughter’s death changed her that much. Mildred should become the source of the audience’s sympathy and investment, but as portrayed here, she offers such a relentlessly unpleasant personality that it becomes difficult to bond with her. Other characters plod a steadier course, but they seem no more three-dimensional – including our lead. This should add nuance to the movie – and explain his bigotry as self-loathing – but instead, these clues tend to come across as gratuitous and cheap. In one of the film’s few subtle components, Billboards drops hints that Jason may be gay. Much of the movie presents him as a simple-minded, bigoted doofus too stupid to operate heavy machinery, but then he gets smarter and more serious along the way, all for no clear reason other than that’s what the movie wants. Many of these issues revolve around local cop Jason Dixon (Sam Rockwell).
Its comedy seems too broad and its character developments feel illogical, factors that turn it into something of a narrative mess. If they do so well, which Billboards doesn’t.
I’m all for films that give us complex narratives and varying attitudes. Sometimes I feel like my reviews leave the impression that I insist every movie follow one strict, clear tonal path and never deviate, but that’s not true. The film skips from goofy absurdity to dark drama without clarity and never comes together in a satisfying manner. This becomes a major problem, as Billboards can’t ever decide where it wants to go, and it fails to balance its two sides well. And doesn’t, for Billboards zips from tragedy to absurdity with alacrity. The film’s promos lead us to believe it’ll give us a Coen-esque dark comedy.
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Unsurprisingly, this creates a lot of controversy and sets an ever-escalating series of conflicts into motion.įor better or for worse, trailers create an impression of what to expect from a movie, and in the case of Billboards, I vote “for worse”. Set in small town Midwest US, someone brutally rapes and murders teenage Angela Hayes (Kathryn Newton), but months pass and the police seem no closer to an arrest.īitter and grieving, Angela’s mother Mildred (Frances McDormand) takes matters into her own hands with an unusual gesture: she hires three billboards outside of town to run a message that spotlights her displeasure with local police chief Bill Willoughby (Woody Harrelson). With 2017’s Three Billboards Outside Ebbing, Missouri, we get a tale of anger, revenge and attempts for justice. Reviewed by Colin Jacobson (March 7, 2018) SVS SB12-NSD 12" 400-watt Sealed Box Subwoofer
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LG OLED65C6P 65-Inch 4K Ultra HD Smart OLED TV Review Archive: # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Mainįrances McDormand, Woody Harrelson, Sam Rockwell, Peter DinklageĪ mother personally challenges the local authorities to solve her daughter's murder when they fail to catch the culprit. Three Billboards Outside Ebbing, Missouri (2017)
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