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1. #THREE BILLBOARDS OUTSIDE EBBING MISSOURI STREAM FULL#
2. #THREE BILLBOARDS OUTSIDE EBBING MISSOURI STREAM TV#

But while the film is savagely funny, the humor never undermines the key characters’ well of hurt, whether it’s the grief of Mildred, Robbie and skuzzy Charlie, or Willoughby, whose challenges with the Hayes case collide with agonizing decisions concerning his own pain and the extent to which he will allow the family that he loves to endure it.

#THREE BILLBOARDS OUTSIDE EBBING MISSOURI STREAM FULL#

McDonagh’s peerless gift for zinging, curse-laden dialogue is in full flower here, both in ricochet exchanges and magnificent solo arias, frequently tossing in wicked acknowledgments of casual racism, homophobia and other forms of bigotry that seem fueled rather than quelled by PC awareness. Tough-talking, staunch and fearless in her almost biblical wrath and refusal to back down, she’s a highly original, flawed hero, a no-bullshit, resilient woman who’s also quick with a withering comeback when confronted. The part was created expressly for McDormand, who brings her to life with a grim fury worthy of Greek tragedy, but also with a needling moral conscience as the rippling consequences of her actions become clear. Mildred Hayes is the most substantial role McDonagh has written for a woman, and what a role it is.

And her ex-husband, Charlie (John Hawkes), a wife-beating former cop now living with Penelope (Samara Weaving), a 19-year-old who confuses polo with polio, finds the billboard scheme beneath contempt. Her son Robbie (Lucas Hedges), who has tried to bury his grief for his sister, threatens to join the disapproving chorus. But Mildred remains immovable, even as the town shows its support for the well-liked, family-man police chief. When that fails to sway her, he reveals he has late-stage cancer. Willoughby tries to reason with Mildred by sharing his frustration about the absence of leads in the case.

#THREE BILLBOARDS OUTSIDE EBBING MISSOURI STREAM TV#

“Looks like we got a war on our hands,” mutters Willoughby ( Harrelson in a role that fits him like a glove) to his horse, after Mildred, dressed for battle in a bandana and coveralls, appears on local TV news to restate her beef with the police. The billboards are on a road barely used since the freeway was put in, but police officer Dixon - a violent, racist doofus for the ages in Rockwell’s wildly undignified performance - happens to drive by them on Easter Sunday, while the glue is still wet. Following a rudimentary check of the legal restrictions on billboard advertising, she has three signs put up, their blunt messages in boldface uppercase on a blood-red background reading, in order: Raped While Dying And Still No Arrests How Come, Chief Willoughby? It’s been months since Mildred heard a word from cops about the investigation of her teenage daughter’s horrific rape and murder by incineration, so she takes radical steps to light a flame under the ass of local law enforcement. Fox Searchlight has a real ripper on its hands with this one, even if it likely won’t be for mainstream tastes.

A stupendous showcase for the formidable gifts of McDormand that also provides plum roles for Woody Harrelson and Sam Rockwell, this is a corrosively humorous drama of festering injustice, Shakespearean rage, grave reckoning and imperfect redemption, which unfolds with the epic dimensions of a classic Western showdown. After the entertainingly larkish but low-caloric carnage of Seven Psychopaths, McDonagh returns here to the peak form of his debut feature In Bruges, and of his best work for the stage.