movie film review | chris tookey

Three Billboards Outside Ebbing, Missouri

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  Three Billboards Outside Ebbing, Missouri Review
Tookey's Rating
9 /10
Average Rating
8.18 /10
Frances McDormand , Sam Rockwell , Woody Harrelson
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Directed by: Martin McDonagh
Written by: Martin McDonagh

Released: 2017
Genre: DRAMA
Origin: US
Length: 115

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It’s a movie that has a violent, racist cop as a central player, and uses his history of torturing black people as a kind of edgy character detail... The movie is mostly concerned about his feelings. Not the damage he’s done.
(Gene Demby, NPR)
Black people in this movie largely exist as victims, seen and unseen, of the town's violence, and as I watched I found myself wondering why they existed there at all.
(Hanif Abdurraqib, Pacific Standard)
The film ultimately sacrifices its feminist bona fides to run-of-the-mill Hollywood sexism and McDonagh’s cartoonish vision of female rage. Those seeking a break from real-life misogyny will find no respite here.
(Inkoo Kang, Slate)
McDormand is a bit too spartan and sealed off in the role. Her steeliness doesn’t have enough emotional levels.
(Peter Rainer, Christian Science Monitor)
Three Billboards assumes the aspect of world-weary malcontent but is really just a patronizing scold.
(Walter Chaw, Film Freak Central)
McDormand could have carried this film all the way through a minefield of touchy topics, singed but with all parts in the right place, primed for a painful laugh. But goddamnit if the cops in this story didn’t ruin all the fun.
(April Wolfe, Village Voice)
Sam Rockwell plays a violent and racist cop who finds redemption not through owning up to his crimes, but because he's determined to solve the mystery... it's an attempt at emotional manipulation that runs cold and a journey that's played for comedy.
(Ira Madison III, Daily Beast)
Three Billboards feels like a squandered opportunity rather than simply a bad film. Neither Mildred as a character, nor the sensitively treated aspects of the rape narrative, are enough to excuse the rest.
(Imogen West-Knights, Another Gaze)
With his patented solution of acid wit and dark-roast comedy... It's jarringly effective until it starts to feel like shtick, at which point it works only as a numbing agent.
(Matthew Lickona, San Diego Reader)
From the lowest-common-denominator, hate-speech shock value of the dialogue to the third-act insertion of a rapist ex machina, Three Billboards ... is genuinely loathsome.
(Daniel Barnes, Sacramento News & Review)
The dialogue is stilted, none of the situations seem believable, and most of the jokes are stale.
(Vincent Mancini, FilmDrunk)
The film gradually gets bored with its own grandstanding and winds up saying not much of anything.
(Kyle Smith, National Review)
While McDonagh's film doesn't lack for gallows humor and pitch-dark stuff, it's in the department of truth that it comes up short.
(Nick Pinkerton, Film Comment Magazine)
A tonal disaster.
(Josh Larsen, LarsenOnFilm)
McDonagh uses advertising as a metaphor for aggravated communication, as apparent in our media and social relations, but, regrettably, it's also a foreigner's careless simplification of America's current unease.
(Armond White, National Review)

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