Three Billboards Outside Ebbing, Missouri

‘Three Billboards Outside Ebbing, Missouri’ Review: Masterful Morality Play (Plus Comedy!)

'Three Billboards Outside Ebbing, Missiouri'

Movie Rating:


‘Three Billboards Outside Ebbing, Missouri’ is a righteous and angry film. It deals with an unsolved and dismissed crime that rocked a small town, along with the people left harmed in its wake. However, if Martin McDonagh’s brilliant movie were merely about some sort of rise to justice, it wouldn’t be nearly as effective.

Frances McDormand stars as Mildred, a woman whose daughter was raped and murdered. The local small town law enforcement was unable to even find a suspect. Justifiably furious and desperate to force the cops into some sort of action, Mildred buys three billboards just outside of town and covers them with a direct demand to the sheriff to solve the crime. Obviously, that causes one heck of a kerfuffle. There are news reports. Her ex-husband (John Hawkes) is angry about the sensationalism and her son (Josh Lucas) is hurt by the constant reminder of a trauma that he’s struggling to move past. The police department doesn’t take too kindly to it either, especially an immature and openly bigoted cop played by Sam Rockwell. The sheriff (Woody Harrelson) is obviously upset, but not just because of the attention. There was no cover-up or conspiracy. There just genuinely wasn’t enough evidence to pursue. It’s a big mess for everyone.

The first thing that must be said about ‘Three Builboards’ is that Frances McDormand gives a powerful and riveting performance at the center. She plays a strong woman driven by passion and fury, whose strength isn’t devoid of empathy. It just arrives in unexpected places. As the story moves on, she’s tested and the character (and performance) grows. She has amusing show-off monologues early, such as a spirited takedown of the Catholic Church, but the true depth of her work arrives when she’s tested, challenged, and forced to consider other points of view.

A similar sense of rich characterization comes from all players in the story. Harrelson initially seems to be a lovable country goof before a far stronger and even noble man emerges beneath the surface. Peter Dinklage seems to be jokey stunt-casting until his role reveals a true and pained person beneath the gags. Best of all is Sam Rockwell in possibly the finest performance of his career, playing an erratic goofball hick who grows into something far more compelling, human, and tragic without losing his energetic comedic charms. It’s a role designed to capitalize on everything Rockwell does well and hopefully it’ll finally be the performance that earns him the attention that he deserves.

Of course, this many great performances don’t emerge in a single film without great writing to inspire them. McDonagh’s script for ‘Three Billboards’ feels particularly relevant in the current climate of outrage culture and Twitter justice while still playing as a satisfying and bleakly funny small town crime comedy on the surface. Make no mistake, the film doesn’t feature nearly as many laughs as McDonagh’s cult debut ‘In Bruges’. That would be inappropriate. This material is too searing and painful and truthful, and McDonagh shows it respect. At the same time, he’s also playing with the awkward, rambling realities and discomfortingly gray moralities to life. Spikes of humor and devastating lulls of drama brush up against each other regularly. It’s hard to predict where any scene will go, and if you feel that you have a grasp on what will happen next, that’s usually a misdirect. The characters are all rich and full, with layers to their psychology and unexpected growth spurts in their morality. Everyone is struggling. Everyone has problems. That’s the point.

More than anything else, McDonagh’s film is a condemnation of hate. Obviously the hatred that leads to violence and dehumanizing tragedy, but also the hatred that comes from a righteous place seeking justice that can easily blind those possessed by it as they pursue a cause. No matter what the source of hate in anyone, it tends to confuse and lead to unfortunate consequences, particularly preventing any conversation and/or reconciliation between those who share it for each other. That’s a complex and important message to share, especially in such dramatically bipartisan times where everyone is expected to take instant and strong moral stands against all issues and people, with no room for nuance or empathy for those we disagree with.

This is potent and important material to explore, and thankfully McDonagh does so not through dry and moralizing drama, but in a darkly funny, unpredictable, and entertaining thriller filled with fascinating performances by brilliant actors. This is art that doesn’t forget to entertain and entertainment that doesn’t condescend or ignore vital truths of the time.

Perhaps a couple monologues get a little too pointed and the brilliant writer is still growing as a filmmaker with an unfortunate affinity for visual symbolism that’s a little too on-the-nose. Even if ‘Three Billboards’ isn’t perfect, it’s still an extraordinary cinematic accomplishment by all involved. The movie raises issues that should be discussed right now. It’s easily one of the finest films of the year. You’ve only just started to hear about ‘Three Billboards Outside Ebbing, Missouri’ but get ready to hear so much more despite the unwieldy title.


  1. Dextor Gordon

    Interesting … many responses to your Thor review, and a growing number to your Orient Express, but nothing yet here, for a movie with sincere moral themes and admirable aesthetic standards. Oh well, that’s Hollywood …

    • Bolo

      I want to see this movie. I just don’t think it’s playing outside of USA yet. I’ll see it when it plays near me. But the lack of discussion isn’t really Hollywood’s fault. People just aren’t interested in movies aimed at adults anymore. The days when stories and storytellers generated interest in a movie have been replaced with an age of brands and IP’s. If somebody gives a great performance in a movie like this, the most discussion it will provoke is how awesome it would be to see that actor with a lightsaber in their hand.

  2. Dextor Gordon

    And, by the way, another articulate and insightful piece of criticism Phil; I don’t always agree with you, but I always understand where you’re coming from.

  3. David Staschke

    I had the privledge of seeing a test screening of this movie last October (can’t believe it was over a year ago) and it was amazing. I can’t wait to watch the final version and see what was changed. Hopefully they followed my suggestion on the questionaire and didn’t change a damn thing because the movie was almost perfect.

    • Timcharger

      Shouldn’t this review explicitly explain why Phil increased his rating from 4 to 4.5 stars? Nothing wrong with changing, but why not comment on that?

  4. Timcharger

    Duplicate review, so might as well duplicate some comments:

    If the film did not receive all the fanfare and accolades, no worries. But because the film got so much praise, it deserves to be knocked down a notch.

    “…and maybe even a little profound.”
    No, no, no. It’s not profound. It’s just absurdity. It’s just a car crash, leading to another car crash on a freeway pile up. There’s nothing profound. The ending isn’t profound. It’s a beautiful looking car crash, but trying to see the profundity of the random absurdity of spectacular car accidents is a lost cause. Enjoy the spectacle. But this film is the equivalent to the other end of the spectrum of a fun popcorn summer blockbuster starring the Rock. Instead of CG, 3 Billboards uses unrealistic long soliloquies. Instead of explosions, 3 Billboards uses quirky characters with gotcha moments and surprise bouts of humor. Instead of revealing cleavage, 3 Billboards reveals convenient plot turns. At the end of the film, 3 Billboards is as satisfying as that fun popcorn flick, but you really just ate popcorn. There’s nothing profound.

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