![]() ![]() Without DNA matching the killer, the cops can’t make an arrest. It turns out that Willoughby and his subordinates have a good reason for making no arrests. The two didn’t get along when Angela (Kathryn Newton) was alive, and now Mildred is tormented because she can’t make up with her daughter. Somewhere in the back of her mind, she wonders if she bears some responsibility for her daughter’s death. If her single-mindedness gets off-putting, Mildred is nursing her own feelings of shame. She really irks Ebbing’s finest by calling out Chief Willoughby (Woody Harrelson) by name. While most travelers won’t see her angry call for action, the cops clearly get the message. To shame and possibly energize the seemingly moribund police force in her hometown of Ebbing, Mildred rents three unused billboards on a rarely traveled highway outside of town. “Director McDonagh finds something strangely universal in his phony Missouri town…” The victim’s mother, Mildred (Frances McDormand) is understandably frustrated and angry that seven months have passed since her daughter’s death, and the perpetrator is still presumably walking free. ![]() That could have been easy for a story about an unsolved murder and rape. That rejection of nihilism prevents Three Billboards Outside Ebbing, Missouri from becoming a witty exercise in cynicism. Without becoming a Pollyanna, McDonagh reveals that even his most contemptible characters are far from irredeemable. With his new offering, the Oscar-winner (for his short Six Shooter ) supplements his intricate plotting and razor-sharp dialogue with a sense of compassion for his characters. With Three Billboards Outside Ebbing, Missouri, he demonstrates that he has a big heart to go with it. ![]() From watching In Bruges and Seven Psychopaths, it’s obvious that Irish playwright and filmmaker Martin McDonagh has a brain. ![]()
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