Billboard Justice

Character-centered films spare in visual pizzazz yet rich in storytelling and character development are all too rare these days in a movie industry driven by blockbusters and spectacle-heavy extravaganzas.  It is therefore such a welcome breath of fresh air when a black dramedy like Martin McDonagh’s ‘Three Billboards Outside Ebbing, Missouri’ comes along, a low-key affair relying on great storytelling and strong characterizations that leaves an imprint long after the final credits have rolled.

 

‘Three Billboards’ thrives on conflict and a good dose of trouble, which arose when grieving and angry mother Mildred Hayes (Frances McDormand in what may be her best performance since ‘Fargo’) donned the hat of town hell raiser by renting three billboards outside the fictional, run-down town of Ebbing, Missouri to advertise her frustration at the failure of local law enforcement to apprehend the murderer and rapist of her rebellious teenage daughter.  An understandable grievance to be sure, but for the fact that her ire happened to be directed towards Chief Bill Willoughby (Woody Harrelson), the beloved town sheriff and loving family man cast in the homespun mold of Andy Griffith and Carroll O’Connor.  Considering that justice was denied in this case not due to negligence, incompetence or a failure to conduct the investigation with due diligence but simply because the trail had gone cold and nothing else can be done, it’s little surprise that a majority of the townsfolk turned against Mildred, particularly in light of the fact that Chief Willoughby is dealing with a serious health issue of his own.  Nevertheless, on a mission with a single-mindedness bordering on sheer fanaticism, Mildred continued to wage her righteous crusade against the police like the scorned woman she is.

 

What’s great about ‘Three Billboards’ is that it defied our expectations with its ambiguous, shades-of-grey morality.  At times as cold as ice, McDormand made it hard for the audience to fully empathize with Mildred despite what she’s going through.  While most people would probably have found some kind of closure and tried to move on with their lives, Mildred adamantly refuses to let it go, come hell or high water.  And (speaking of which) like last year’s uniquely American neo-western/black comedy ‘Hell or High Water,’ she’s willing to let her destructive actions take her wherever they may lead, leaving the rest to the audience’s imagination and judgment.

Grade: A+