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His badge and gun seemingly arriving in a raffle one day as much as being earned. The dumb-as-a-bag-of-hammers Dixon is racist and suffering from both inferiority and superiority complexes. She is the face and force of physical grieving, she is its toll.
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She’s always a powerhouse actor but here she is able to put across so much in between the lines. The brutality of the film exists on many levels, psychologically it’s there in ever hard-burned stare and hard-earned care that McDormand manifests.
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He hits first and if he can form them he’ll maybe ask the questions later. Officer Jason Dixon (a frightening, wonderful Rockwell) is almost without brain. He understands the hopelessness of the situation and is not without heart. Chief Willoughby (Harrelson) is dying of cancer. Mildred has had enough and the billboards mark the start of her vigilante attempt to restore a version of justice. She reminds the community that her daughter was raped while dying. She pays for advertisements on the titular billboard, the message she sends is clear: How Come There Have Been No Arrests? She names – and shames – the police chief. McDormand, as Mildred Hayes, is grieving the rape and murder of her teenage daughter. There are performances seared on the screen from both Frances McDormand and Sam Rockwell – and perhaps the surprise-turn is from Woody Harrelson, which is not to say he isn’t (usually) a great actor, it’s more the fact that here, very subtly, he provides understanding into just how complex – how much of a mess – it all is. People will tell you that Three Billboards Outside Ebbing, Missouri is Cohen Brothers-lite, or an off-beat tribute, or both – but it’s a far deeper and more compelling tale. We might be placed just outside of small-town Ebbing in Missouri, but tonally we are all over the map when Martin McDonagh ( In Bruges, Seven Psychopaths) paints a none-more-black comedy with a few extra dark shades of the old ultraviolence… Three Billboards Outside Ebbing, Missouriīlueprint Pictures/Fox Searchlight Pictures