Three Billboards Outside Ebbing, Missouri

Three Billboards Outside Ebbing, Missouri: the mother of a murdered teenager goes head to head with the local town’s police department. This film tickles and jokes with you then WHAM, punches you in the kidney, again, and again, and again. I’ve never been in a screening where the audience went from rapturous crying-with-laughter straight in to shock, fear, or dread in a split second. Performance-wise, picking out an individual would be unfair as everyone is sublime: Rockwell steals his scenes with superb comic delivery, whereas Harrelson and McDormand show real heart, and damn near everyone else in the top-to-bottom dream cast brings their A-game. The direction is never in yer face, but it immaculately handles the comedy and emphasizes every twist, turn, and reveal that the ultra-tight screenplay has to offer (no line of dialogue is wasted). The plot is harrowing, yet it unfolds in such an anarchic way that you’re never sure what’s around the corner. The only complaints I can level at the film are that it has about 5 natural endings, but keeps chugging on at an even slower pace (and what’s with the midget obsession; there was no need for the character to be a midget other than the cheap laughs). Three Billboards takes the notion of a ‘Tragicomedy’ and pushes both aspects as far as they can go, making it an absolute rollercoaster of emotions for the viewer. Powerful, emotive, and raw; I wouldn’t grudge this film any of the awards that it’s up for.

Score: 9/10

“RAPED WHILE DYING”

“AND STILL NO ARRESTS?”

“HOW COME, CHIEF WILLOUGHBY?”