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.
“RAPED WHILE DYING”
“AND STILL NO ARRESTS?”
“HOW COME, CHIEF WILLOUGHBY?”
Seven Psychopaths: whilst working on his screenplay titled “Seven Psychopaths” a struggling writer gets caught up in his best friend’s dog-snatching scheme. This film takes crime-thriller genre head on, and turns all of the well-worn tropes on their heads for fun, and to make a stale genre more entertaining. More than anything else, the film is genuinely laugh-out-loud funny – to the point where, if you like the absurd, risqué and offensive humour, you will have a sore face by the end: the epic imagined gunfight/showdown in the graveyard had almost everyone in the cinema crying with laughter. There’s lots of top acting from the leading men (Rockwell storms the film, although he does have the best character and funniest lines) but the ladies on the other hand – other than Walken‘s wife – don’t get much of a look-in. So there’s an entertaining story, good characters, lots of jokes – but there’s a catch: the film is let down by trying to be far too self-aware and ‘filmy’ to the point of being a quite ‘wanky’. There’s a scene in the middle film where the characters have just had a load of action and are driving to the desert, while talking about the middle of the ‘seven psychopaths’ script, where the characters are driving to the desert after an action-packed first half… I was almost chewing my fingers off with cringery. Seven Psychopaths ends up being a violent, sweary, funny and entertaining black comedy caper, with a promising ‘real’ plot is hampered by the quirky/indie emphasis of the ‘film-within-a-film’ sub-plot.
1. She thinks she’s hot Shih Tzu
2. The non-violent one
3. The seemingly normal one
4. He won’t take any Shih Tzu
5. The Passive-aggressive girlfriend
6. The one with the bunny
7. The one with issues
Argo: one of the CIA’s clandestine experts creates a ‘real’ fake movie as the perfect cover-up to bring home 6 diplomats stuck behind enemy lines. The most obvious thing about Argo is the phenomenally chosen cast, particularly from the TV sphere; people representing Braking Bad, 24, The Good Wife, etc – everyone is on great form, doing their parts for the movie. Arkin and Goodman in particular get many great lines, which helps maintain the delicate balance between the drama & peril, and a tongue-in-cheek – almost knockabout – look at Hollywood in the early 80s (with a loving streak of appreciation for Sci-Fi B-movies). On that note, the immaculate, uncompromising, period detail adds an unusually thick layer of authenticity to the story. The film’s book-ended by some ridiculously tense, well-directed, moments of a siege and the final throes of an escape. There are a few minor issues; it feels a little longer than it needed to be, some of the drama comes from contrived methods (like the old “run that through the system again” trick); also, although it’s not a ‘political’ film per se – but it reeks of AMERICA, FUCK YEAH!! Bottom line, Argo is a solid, balanced (if somewhat over-dramatised), political/historical thriller, held together by a superb cast. It also looks like Ben Affleck is fast becoming one of the best Actor’s Directors around.