“All this anger. It only begets more anger.”
Ironically enough, given the title, the anger in Three Billboards Outside Ebbing, Missouri never seems to ebb. Martin McDonagh’s small town black comedy drama is a parable about grief that metastasises into all-consuming rage. Fire is a recurring fixation for Three Billboards Outside Ebbing, Missouri, a potent metaphor for both the scorched earth left behind by trauma and the tendency of such anger to swallow up everything in its path. Three Billboards Outside Ebbing, Missouri is a cautionary fable.
Reading the signs.
Three Billboards Outside Ebbing, Missouri benefits from a number of different factors. McDonagh’s script is smart and well-constructed, wry in the right places and emotional when it counts, imbuing the characters and their surroundings with an organic and lived-in quality that enriches the story built around them. The locations are atmospheric and effective, creating a sense of place that extends beyond mere geography. The cast is fantastic, particularly supporting turns from Woody Harrelson and Sam Rockwell.
However, Frances McDormand is the engine that drives Three Billboards Outside Ebbing, Missouri. While the film features several set pieces built around fire, the hottest flame burns at the heart of the central character. As enraged mother Mildred Hayes, McDormand captures the energy and the depth of a woman raging against a system that let her down, an unjust world that denies her closure, and her own sense of guilt and responsibility.
Ebbing and flowing.
Filed under: Non-Review Reviews | Tagged: film, frances mcdormand, martin mcdonagh, Movie, non-review review, review, sam rockwell, three billboards, Three Billboards Outside Ebbing Missouri, woody harrelson | Leave a comment »
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