Directed by: Martin McDonagh
Starring: Frances McDormand, Sam Rockwell, Woody Harrelson, Lucas Hedges, Peter Dinklage, John Hawkes.
Written by Corey Hughes
British-Irish playwright-turned-filmmaker Martin McDonagh returns to the director seat in emphatic fashion with ‘Three Billboards Outside Ebbing, Missouri’, his third feature film that follows the success of ‘In Bruges’ and ‘Seven Psychopaths’, a film that alludes to the conflicts of hatred versus empathy, and tolerance versus change. This, in short, is a triumphant outing for McDonagh, and is completely deserving of the tremendous buzz that it has been receiving during this competitive awards season.
7 months after the rape and murder of her teenage daughter, Mildred Hayes, played ruthlessly by Frances McDormand, challenges the local police authority when they fail to find a single culprit responsible for the attack. ‘Raped while dying. And still no arrests? How come, chief Willoughby?’ The three billboards ask a simple question: who is responsible for the death of Mildred Haye’s daughter?
Whilst the film seeks to uncover the mystery surrounding the death of Angela Hayes, this is not a mystery per se. Instead, this is a courageous tale of one mother’s dedication in seeking justice for her daughter, a justice not given to her by the local police department. With a few ‘fuck’ and ‘c**ts’ thrown in. (Yes, I censored myself. I’m not an animal.) This trademark use of explosive, vulgar writing is something that acclaimed writer and director Martin McDonagh is renowned for, and he holds no punches this time ‘round either. McDonagh’s prowess as both a playwright and a cinematic dramatist has resulted in a mesmerising fusion of drama and comedy; a film that is brimming with moments of laughter and melancholy, and a mosaic of compelling characters.
At the helm of McDonagh’s piece is Frances McDormand, an actor not known for leading the screen, but more so for her supporting contributions, although that wouldn’t seem the case here. Her portrayal of the tortured Mildred Hayes is a fascinating one: she is not a good person, nor is she a particularly good mother, but what she lacks in manners she makes up for in grit, determination and complete badassery. A mother of a grief-struck son (Lucas Hedges) and a divorcee from an abusive husband (John Hawke), Hayes appears to be in constant battle with herself and those that surround her. Yet despite her fighting, unforgiving nature, she is not immune to emotion – she’s simply a mother seeking justice for her daughter. Whenever she breaks down there is a real sense of devastation, an accomplishment that must be applied to the remarkable talent of McDormand who is able to simultaneously make one laugh or cry. This is simply the perfect role for McDormand, who fits the role like a tightly worn bandana.
As for the rest of the cast, there’s a lot of excitement to be had. Whether it’s Woody Harrelson as the charismatic chief of police and loving father, or Lucas Hedges as the tormented son (a role not too distant from his performance in ‘Manchester by the Sea’), ‘Three Billboards‘ is bursting with compelling characters; all of which given the necessary depth to flourish alongside McDormand’s lead. Yet I feel extra credit needs to be given to the immensely underrated Sam Rockwell, who this time ‘round plays an inexcusably monstrous police officer who embodies the societal anxiety of police brutality and racial prejudice that is far too prevalent in today’s current climate. Yet this totally unsympathetic character is graced with the most compelling arc within the movie, which to some may be an unforgivable decision made by McDonagh. Though, for me, this change in character is justified, a transition that is fuelled by his incompetence as an officer of the law, and by his understandable castigation from his local community. Rockwell captures this sense of divisiveness with ease, by bringing to the fore what could be a career-best performance.
At the heart of it all, McDonagh’s film is a hilarious, raunchy and poignant story of a mother’s unrelenting desire for justice. But more so, it is an intriguing psychological analysis of one’s response to tragedy, which in this case, is one fuelled by anarchic rage.
This is an utterly fantastic piece of work by McDonagh.
Corey’s Rating: 9.5 / 10