Since I kept hearing some really good things about this flick, I was really eager to check it out. Well, even though I did like it, I wasn’t completely blown away by the whole thing to be honest. Even though this movie might seem to be, at first, about the rebooting of her murder investigation, it had in fact little do with this investigation at all after all. Basically, it was mostly dealing with 2 characters and how they have to face guilt, judgement and then redemption. However, if this process worked fine with the main character thanks to a really strong performance delivered by Frances McDormand, I wasn’t completely convinced with what happened to Jason Dixon though. Indeed, from the moment that he reads the letter that Willoughby left him, they completely flipped his character around. I mean, so far, Dixon was a fairly pathetic incompetent and easy to hate cop and it was actually quite funny to hear Willoughby saying that he was or could be a good cop since we saw completely the opposite so far. However, from this point on, this character changed drastically, even showing some decent detective skills but this change was rather hard to swallow. Of course, I don’t blame Sam Rockwell, the guy gave another strong performance, it’s just that this story seemed to have just too much impact on his character. Still, it was a rather complex tale with some interesting characters and I should probably re-watch it at some point to make up my mind for good about the damned thing. Anyway, to conclude, even though I wasn’t completely sold, it was still a really solid comedy-drama and it is definitely worth a look, especially if you like the genre.
Treating prickly subject matter with a carelessness and shock-and-awe grandstanding does not a great film make. No, no amount of verbal pyrotechnics about topics like racism, sexism, and culpability can mask the fact that Three Billboards Outside Ebbing, Missouri is flippant about things like character development or narrative coherency. It speaks in broad strokes, more like a caps lock, but it doesn’t engage in any of its idea in any meaningful way.
Even worse is how Three Billboards treats epithets like they’re the Molotov cocktails that Mildred hurls at the police station – moments of rage thrown out to whip a reaction out of you with no follow-through or repercussions. From accusing a pirest of “altar-boy fucking” to hurling out loaded racial language to engender a guffaw or tongue-click from its white liberal audience, Three Billboards is more about titillation than it is about engagement with its ideas and themes.
Case in point, a scene where Mildred’s ex-husband comes barreling into her home, attacks their son, and his current, younger girlfriend walks in on the altercation. There’s no payoff here. We’re told throughout that he was an abusive man, but all we get is this one scene and there’s deeper significance to this scene, there’s no reaction from his younger girlfriend other than to turn tail and walk away, it’s as if this scene exists merely to underscore’s Mildred’s reasons for anger and vigilante justice. It’s just sloppy writing. How does this scene of violence affect her son? How does this affect his relationship with his younger girlfriend?
This sloppiness extends outward as character’s make improbable 180 turns or choices that come out of nowhere. A racist cop that plays out like a bumbling idiot suddenly demonstrates not only an interior complexity that materializes out of thin air, but a brand new outlook on life that is unearned. Not to mention a brain power that we haven’t even gotten a tease about before the script needs him to suddenly be smarter. And this is all after numerous scenes of him beating up innocent civilians, including throwing one out of a window.
For all the arguments that the various players in making this film have given about how these characters aren’t actually redeemed in the end, you wouldn’t know it from the musical cues and vague enough ending that can easily read as a redemption. Individual scenes in Three Billboards work beautifully to build something thorny and jagged about tough issues, but then they turn around and fly around making choices because the script demands it not because it endemic to their character growth.
This doesn’t even begin to broach the topic of race in this movie. Here is a movie happy to talk about police brutality against minority communities and keep them largely off-screen. It reads as hollow virtue signaling and a half-formed idea. We’re merely told that these things exist and never grapple with them, and it only feeds into Mildred’s character journey of fighting the power and shaking the rafters. It’s deployed with a callousness that’s galling, or served up as a punchline, take your pick which is worse.
Where Three Billboards excels, and it really excels here, is in its trio of leading performances. Not that they can overcome the speechifying of the script, but they manage to make a meal out of its ostentatious dialog. Woody Harrelson gives us a performance that reminds us of just how underpraised an actor he is, quite possibly containing one of the largest ranges of his generation. Sam Rockwell possibly has the hardest role here as he’s the racist cop that gets the redemption without the reckoning, and he must walk that fine line. His natural charisma and decades-long character actor bona fides keep his performance moving, as does his affinity for the grooves and textures of the Martin McDonagh’s writing. It’s a showy role and Rockwell manages to make a coherent person where the script does not.
Same goes for Frances McDormand who lends her naturally flinty and gruff persona to a role that can not only carry that weight, but demands it in order to work. Mildred never asks for our sympathy or understanding, even when the film does and protects her from too harsh of consequences with her whiteness. McDormand’s performance is a late-career masterpiece from an actress that’s at her best with characters that are nearly impossible to play on the page, ones who are hard to love and go to improbably dark parts of their psyche. Even when Three Billboards fails to rise to her masterful performance, McDormand is never less than astounding to watch.
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the story perfectly manages the drama without leaving the humor behind
a cast of well-characterized characters
besides that some scenes were more than memorable among those highlights when mildred puts out the fire of the billboards
for rare reasons this is the only one of the few films that I can consider I can not consider overvalued
no doubt Three Billboards Outside Ebbing, Missouri is a great movie
with that, it's my favorite for the oscar for the best movie
it's really worth seeing
una jodida obra maestra de humor negro y drama
la historia maneja perfectamente el drama sin dejar el drama atrás
un cast de personajes bien caracterizados
ademas de eso algunas escenas eran mas que memorables entre esas destaco cuando mildred apagaba el fuego de las vallas publicitarias
por raras razones esta se me hace de las pocas películas que puedo considerar no puedo considerar sobrevaloradas
sin duda tres anuncios por un crimen es una gran pelicula
con eso se hico es mi favorita para el oscar la mejor pelicula junto con dunkerque
realmente merece la pena ver
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