#Three billboards in ebbing missouri movie
This is a revenge movie that’s also a dead-child tragedy that’s also a local-law-enforcement comedy that leaves room for physical comedy, cancer and a bad date. But they’re conflated here in a way that achieves a grating otherworldliness. Individually, not one of these choices qualifies as a disaster. We’re talking about the sort of heartland populated by average-looking people meant to be made poetically interesting by their exotic brides (from Australia!), dying words (“Oscar Wilde”) and symbolically sadistic late-night film taste (one vindictive woman who isn’t Mildred is glued to “Don’t Look Now”). It’s set in the country’s geographical middle, which should trigger a metaphor alert. It’s one of those movies that really do think they’re saying something profound about human nature and injustice. The reason to do any barking - well, the reason for me - is that “Three Billboards” feels so off about so many things. “How come, Chief Willoughby?” asks the last.
Frances McDormand plays the woman - her name is Mildred Hayes - and the billboards are the site of her campaign. “Three Billboards” is about a mother determined to humiliate and harass a small-town police force into solving the months-old rape and murder of her teenage daughter. In 2005, it was “Crash.” This year, the entrant is “Three Billboards Outside Ebbing, Missouri.” The movie won four Golden Globes, including best drama, making it a contentious Oscar favorite (the nominations come our way Jan. Last year, that movie was “La La Land.” Two years before that, it was arguably - suddenly - “American Sniper” (winner of nothing especially big, but big in the meaning we ascribed it). And the more love the prize givers throw at it, the more some people want to throw themselves off a cliff. In its own accidental way, it does seem to be saying something about, you know, now. Nonetheless, the movie is even kind of a hit. It gets a bunch of nominations and wins some big prizes, occasionally the biggest ones, and most of the time, people - moviegoers, moviemakers, movie critics - will say they didn’t see it coming, that the enthusiasm for this movie doesn’t make any sense, that the praise being slathered insults how good about a dozen other movies actually are.
Sometimes, a movie comes along that appears to take the H.O.V.
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