![]() ![]() Like McDonagh’s previous movies, Three Billboards blurs the line between comedy and calamity, suggesting that there is no real difference, especially in a landscape populated with Midwestern sad sacks ready to explode. To just witness how its characters will connect, crash, or upend one another becomes a densely rewarding mystery unto itself. Such is the strange alchemy of Martin McDonagh’s Three Billboards, a layered work that can at once be darkly amusing while still maintaining an unrelenting air of tragedy. Is this sequence going to be violent or emotional, hilarious or bleakly despairing? No audience can know for sure. Thus with McDormand’s hand coiling around the bottle like a serpent ready to bear venom, Mildred saunters to the hubby’s table. While Mildred’s rebound has been nothing short of grief over the violent loss of their shared daughter, Charlie has very quickly moved on to this Penelope girl, a friendly 19-year-old so bubbly it hurts. She’s been insulted, humiliated, and proven to be a pretty awful human being… but she’s still better than her abusive ex-husband Charlie (John Hawkes), who has mocked her anger for the umpteenth time before sitting back down next to his new girlfriend (Samara Weaving). Frances McDormand’s Mildred Hayes stands alone in a restaurant with a wine bottle in her hand. There is a scene midway through Three Billboards Outside Ebbing, Missouri where it’s impossible to know exactly what is going to happen. ![]()
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