“This didn’t put an end to shit, you fucking retard! This is just the fucking start! Why don’t you put that on your Good Morning Missouri fucking wake-up broadcast, bitch?”
In the cinema world, even in films without action and adventure, we’re accustomed to heroes and villains. We have films with complex villains, problematic romantic leads, and even adventures without any discernible villains, but the audience just instinctively knows who to root for and who to jeer against. Three Billboards Outside Ebbing, Missouri, directed by Martin McDonagh (In Bruges, Seven Psychopaths) and starring Frances McDormand and Sam Rockwell, is different because it sets itself up as very black and white, with a slighted middle-aged woman and an angry, racist cop, but the film’s narrative goes to some interesting places and it really makes audiences question who they’re rooting for, and why. It’s also a solid, smart drama with effective darkly comedic elements. This is a film that gripped me, but left me thinking for a long time after the credits rolled, and that’s not an easy thing to do.
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