A canonical class on character development, performances and direction.

Rating: 10/10 (19 April 2018)

A game-changer. I have just witnessed one of the- narratively speaking -more intense feature films ever, one that, surprisingly, doesn't require Parisian landscapes or delicate photographs to be the most effortlessly acidic film offer in a very long time, one incorporating a really powerful drama and a delicious caustic black humor, putting you as a voyeur of the pain of others, a depraved buy purgative activity.
Without a doubt, the greatest strengths of this towering work are in its script. The plot places us directly at the heart of the matter: three polygonal and outdated billboards that serve as a purifying instrument for characters and audience alike. A succinctly-shaped storyline of this kind must be reputed as a narrative milestone, for as a result of a tragic event, a mother drowned by grief and her voracious desire for justice will be the perfect machinery for executing finely-chained maneuvers, prioritizing a down-to-earth plot that will keep interest at its highest level. I'm still seriously disturbed by this fascinating, groundbreaking and invigorating screenplay; it's some time now since an American-British screenplay with a level of humanity and moral complexity as outstanding and superb as Martin McDonagh's latest opus is, who in addition to directing, is credited as the absolute artifice of this emotional purge. Thanks to this man, the world has been able to enjoy situations surpassing the epic drama, crowning moments, allowing each actor to show off their major talents, without falling into shameful exaggerations. The leading role of " Fargo" wonderful actress Frances McDormand, which will surely lead her name to global media focus, she expels strength, even when her heart is broken into hundreds of pieces. This impetuosity is precisely the agent allowing an almost instantaneous connection from the first scene on the road, that imperfection, remorse and feeling, seeking vindication in such emotional ways that announces the establishment of a new Ellen Ripley, for indie-drama genre, her brave nature, supported on the grief of a mother, stirs up a sensational feeling from which the film drinks on several times to achieve an unbeatable narrative cadence. The second great discovery is underestimated-actor Sam Rockwell. Rockwell returns with a worthy-recognition role, a really big one, Dixon, an alcoholic sheriff who doesn't frequent good manners, an arrogant policeman who doesn't care to pass over the world to be victorious. Needless to say, this actor executes one of the most powerful moments of the film at the hands of his character. Last, but not least, is a not-remotely-unusual player, as most of his performances get to touch the overwhelming, the really overwhelming. Willoughby is a police chief who failed to fully resolve a murder and rape crime, moreover, he's outweighed by repercussions that cause the three billboards of the protagonist and a life-or-death decision, here a controversial debate rises up, to confront a dreaded fatal fate.
A huge praise deserves some set-pieces pushing beyond the mettlesome narrative development. The film is rich in sequences that transmit by means of the pictures, and although it's almost impossible to avoid spoilers, it can be said that such strong points are distributed proportionately between the scenes where supporting and leading characters are involved in other words, between sequences that don't focus only on the bad-ass protagonist, even though, indirectly, all the moves lies on her. A mother, two local sheriffs, flames, explosions, love affairs, three billboards on deep-scarlet background and serious lettering, a surly dentist and a hired murderer are the ingredients used for the construction of a film which is based on its potent and articulated screenplay.
The score is brutal. From the start, I have considered musical accompaniments as key pieces for the success of transmission of emotions, of truth; A filmmaker must get to most possible resources to make sense of the specific and general purposes of the story, so I personally think that a simple melodic structure supports fabulous acting and creative task. Carter Burwell, who curiously had also worked with Mr. McDonagh in "Seven Psychopaths", has behind him gold scores of the stature of "Carol", "Anomalisa" and "Mr. Holmes"; Now, he reappears with full hands through compositions that are rightly coupled with the most heartfelt moments of the film, His score for this story express, on many occasions, more than pictures, because from masterful and harmonic sounds he transmits grief, tribulation, intractability and madness accompanying the characters, while potentiates his chances to opt for the coveted golden man. We will have to keep a close eye on this New Yorker, as he insinuates being the next monster producing excellent soundtracks for deep films thanks to his undeniable talent.
"Three Billboards Outside Ebbing, Missouri" written and directed by Martin McDonagh will make history in my review Watchlist as the first motion picture in which I didn't evaluate technical or visually artistic aspects, which clearly are executed in a beautiful, crude and stunning way, however, I haven't considered them as a fundamental part because this film is purely story and characters. I was skeptical about a true audiovisual production mustn't be made up of visual, narrative and creative art, however, this work has shown me that art can be conceived by putting some components a greater importance than others, but finally, they are all there. A blistering catharsis led by top-notch performances and a glorified direction, this film is the most human, poignant, shocking and coherent drama I have seen in a long time, a major achievement for cinematographic narrative that reveals the potential emergence of a feasible writing maestro, while it serves as a magnet to unite a hugely talented group of people who make the film what it is.