Three Billboards Outside Ebbing, Missouri (2017)
Directed by Martin McDonagh
After seven months have passed without a culprit in her daughter's murder case, Mildred Hayes makes a bold move, painting three signs leading into her town with a controversial message directed at Bill Willoughby, the town's revered chief of police. When his second-in-command Officer Jason Dixon, an immature mother's boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing's law enforcement is only exacerbated.
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What critics say influenced Three Billboards Outside Ebbing, Missouri
In his third feature film, acclaimed stage director Martin McDonagh (In Bruges, Seven Psychopaths) exercises his penchant for combining comedy, crime, and coarse language and ideas.
McDonagh, who made the winning hit-man comedy “In Bruges” and the cracked crime misadventure “Seven Psychopaths,” again nimbly mixes comedy with grimmer fare and combines nobly aspiring material with baser antics.
To that point, teaming her up with writer/director Martin McDonagh, who wrote Colin Farrell's terrific rage-fueled performance in black comedy In Bruges, and the diabolical characters of Seven Psychopaths, would seem like a match made in Heaven.
Nearly passing for a film set in the past -- if not for a brief Google search reference -- this offering from writer/director Martin McDonagh ("In Bruges," "Seven Psychopaths") falls into the black dramedy category and feels quite a bit like a film the Coen Brothers could have made.
Then again, anyone expecting routine procedure in a Martin McDonagh film (In Bruges, Seven Psychopaths) isn’t familiar with his madcap tonal structures that often flip-flops between gruesomely violent shenanigans and outrageous black comedy, sometimes masterfully utilizing both in the same scene.
In the latest biting black comedy from writer-director Martin McDonagh ( In Bruges , Seven Psychopaths ), a horrific tragedy inspires a determined crusade, as a lone hero commits to doing whatever it takes to see justice done and a small town gets caught up in the chaos.
With its tolling-bell nods to High Noon (amplified by composer Carter Burwell’s spaghetti-tinged guitar themes), and cheeky references to the American gothic of Psycho (Sandy Martin’s domineering Momma Dixon seems to have walked straight out of the Bates Motel), this magical-realist parable finds McDonagh far more in tune with the US landscape than in his disappointing Seven Psychopaths (2012).
In his third feature film, acclaimed stage director Martin McDonagh (In Bruges, Seven Psychopaths) exercises his penchant for combining comedy, crime, and coarse language and ideas.
McDonagh, who made the winning hit-man comedy “In Bruges” and the cracked crime misadventure “Seven Psychopaths,” again nimbly mixes comedy with grimmer fare and combines nobly aspiring material with baser antics.
To that point, teaming her up with writer/director Martin McDonagh, who wrote Colin Farrell's terrific rage-fueled performance in black comedy In Bruges, and the diabolical characters of Seven Psychopaths, would seem like a match made in Heaven.
Nearly passing for a film set in the past -- if not for a brief Google search reference -- this offering from writer/director Martin McDonagh ("In Bruges," "Seven Psychopaths") falls into the black dramedy category and feels quite a bit like a film the Coen Brothers could have made.
Then again, anyone expecting routine procedure in a Martin McDonagh film (In Bruges, Seven Psychopaths) isn’t familiar with his madcap tonal structures that often flip-flops between gruesomely violent shenanigans and outrageous black comedy, sometimes masterfully utilizing both in the same scene.
Almost seemingly channeling Morgan Freeman’s work in “The Shawshank Redemption,” Harrelson becomes a through-line for the audience to engage while then echoing Mahershala Ali’s work in “Moonlight.”
He kind of reminded me a little bit of Russell Crowe’s Bud White from L.A. Confidential: he’s a similar brute, but only dumber, racist, and even more prone to unprompted violence.
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Amanda Warren and Darrell Britt-Gibson work wonders with small but significant roles as Mildred’s accidental support network, both experiencing the sharp end of Ebbing’s retrograde law enforcement, while Clarke Peters exudes understated gravitas as incoming police chief Abercrombie, viewing the unfolding idiocy with the same quiet astonishment that Cleavon Little brought to Blazing Saddles .
The filmmaker gives his pseudo-Western a jolt of "Blazing Saddles," for Dixon anyway, when Chief Abercrombie (Clarke Peters, "John Wick") arrives just in time for a surreal display in downtown Ebbing.
She has a single-minded, Greek tragedy-worthy wrath that approaches, say, Daniel Day Lewis’s performance in There Will Be Blood and Lee Marvin’s in Point Blank.
As self-reflexive gags go, it’s effective only if we believe that mother and son, both portrayed as ignorant hicks, would tolerate even 30 seconds of Don’t Look Now, the film they’re referring to, let alone repeated views.
He stands in front of a mirror, like Channing Tatum did so wonderfully near the close of Foxcatcher .
McDonagh gets, even more, brownie points when he sprinkles in Abbie Cornish, looking like she was plucked out of “Foxcatcher” as Sienna Miller’s spirit animal; Lucas Hedges, as the wisecracking and mournful son, and John Hawkes, as the slithering and enigmatic ex-husband.
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Mildred is a snarling outcast, a descendent of the Western's most famous, tormented seeker of revenge, John Wayne's Ethan Edwards in The Searchers .
One particularly gruesome beating, elaborately staged in a long single take, feels like a nod to the maker of Pulp Fiction, as well as an effort to ensure this film feels "cinematic."
Esta bomba grosera y explosiva se encuentra a medio camino entre Twin Peaks, Raising Arizona y Pulp Fiction.