Instead, with an unstoppable iron will to find her daughter’s killer, Francis McDormand sheds FARGO’s “Minnesota nice” for “Missouri fury,” while delivering a masterful and fiercely independent performance that is surely among the year’s best. In a world where nobody simply earns a happy ending, idealism and convention have no home. THREE BILLBOARDS is a film that frequently reminds the audience that the characters on screen are people with complex lives and desires. Here, people are angry, sad, or lost, but almost never evil. For many of the characters in the film, an intelligent moral ambiguity provides a depth and maturity that is often lost in other films. ĭespite the unapologetically dark premise, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI delicately tiptoes the line between genre conventions, careful not to define itself by its darker elements with surprising humor and wit. Ebbing, Missouri, Ebbing never stood a chance. In an unfortunately one-sided fight between Mildred vs. After buying up three billboards on a forgotten road in Ebbing, Missouri, Mildred calls out the police’s ineptitude.
But for her mother Mildred Hayes (Francis McDormand), the search is far from over. A teenage girl, Angela Hayes, has been kidnapped, raped, and burned alive, and after months without any new leads, the local police have given up.
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