The film captures in a convincing way the suffocating nature of small-town America: local bars act as awkward meeting spaces for cops and the civilians they serve, and the actions of one person are soon known – and misrepresented – by others. McDormand, however, is the star of the show, and is a wonder to watch, encapsulating the film’s musings on love and rage and the dynamism between the two. In fact, there are no off-key performances in the whole film. Peter Dinklage – of Game of Thrones fame – gives a nice performance, too, as a car salesman with a soft spot for Mildred. There is much violence, especially as a result of Dixon’s loyalty to his superior, but this serves to highlight the personal dramas of the characters. Harrelson is great in the role of Willoughby, as is Sam Rockwell as Officer Dixon, a volatile and troubled junior policeman with a fascinating character arc. She punctuates her character’s more wild moments with nuanced and powerful emotion, especially in scenes with police chief Bill Willoughby which swirl with both contempt and empathy. Her interactions with her estranged husband and his new, younger girlfriend (John Hawkes and Kerry Condon) are both funny and tragic in equal measure, and McDormand gives a magnetic performance from beginning to end. Frances McDormand is terrific as a mourning but fierce mother, struggling with a sense of hopelessness and guilt brought about by her daughter’s brutal death. Written and directed by Martin McDonagh (who also directed 2008’s In Bruges), the film’s screenplay is razor-sharp, and blends black comedy with affecting drama which draws out some brilliant performances from the cast. The billboards cause a stir in the small town, leading to a series of events which reveal the fragile relationships of a small town. Frustrated at the lack of progress in the case, Mildred rents out the billboards to keep the case in the public eye and put pressure on the local police chief, played by Woody Harrelson. Mildred Hayes (played by Frances McDormand) is grieving the death of her daughter who, seven months previously, was raped and murdered.
The film’s opening does, indeed, introduce us to three damaged billboards lined up along the side of a country road like silent way-markers, gravestones to capitalist ideals. If nothing else, Three Billboards Outside Ebbing, Missouri would win an Oscar for strangest (although, perfectly accurate) film title. Nevertheless, most will agree that Three Billboards is a muscular and profound film, with first-class performances and an overall tone which shifts from comedy to tragedy, from thriller to family drama with beguiling ease. As with most things, it just depends on who you talk to. Others, however, have said that the field has never been more open than it is this year. The Oscars nominations are imminent and quite a few people have tipped Three Billboards Outside Ebbing, Missouri as heading for Best Picture glory.
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