Three Posters Ebbing, Missouri, by Martin McDonagh | Review


Published on Jan 10, 2018


I can tell you right now that, when the next December, my friend and editor-in-chief Domenico Bottalico will ask me to write the now-ritual top-10 of the best movies 2018 for MangaForever, Three Posters Ebbing, Missouri Martin McDonagh will certainly be in that list.

The unconventional director of In Bruges and 7 Psychopaths (who has already won an Oscar – not many remember – for the best short film with Six Shooter in 2006), has signed a film exceptionally over the top, a film screenplay where the physical violence (which is present, and when there is it is very raw) and is outclassed by the verbal violence: in the world of Three Posters to Ebbing, Missouri, the insults are lethal weapons that offend and provoke, and shock, triggering emotional reactions and therefore consequences, in the context of an America sleepy, but irritable.

You hurt with the words, before with clubs – but even those are made to wave when it feels the need – words that do not spare the dead, and even the dead will have the opportunity to respond in their own words – honest, dramatic, moving – shipped directly from the grave for cheer, or invigorate those who have stayed in the side, to encourage him to resist in a world that is probably no God, where bad things can happen to anyone at any time without the slightest reason.

Mildred Hayes (Frances McDormand) is a single mother who has lost a teenage daughter, who was raped and burned alive by someone that the local police failed to bring to justice. So she decides to rent three billboards on a country road just outside of Ebbing, Missouri, and to place on those billboards is a heavy criticism of the professional competence of the sheriff Bill Willoughby (Woody Harrelson). The first to notice the three billboards will be the vice Jason Dixon (an extraordinary Sam Rockwell, here in the role of a lifetime: the victory at the Golden the will almost certainly to the Oscars, where tiferemo for him), and immediately after him the rest of the town – a small town in retrograde, full of prejudices against anyone.

Given that Newton had been right, even in this case, as in every other case, is applicable to the third law of the dynamics, and the three posters to the doors of Ebbing, they trigger a series of consequences that will mess up the everyday life of the entire community and, in particular, that of Mildred, the sheriff's Bill, the vice-Jason (it is his the story arc more satisfying), the dwarf alcoholic James (Peter Dinklage) and the advertising Red (Caleb Landry Jones).

The narrative style of McDonagh, who is a mix so hard as funny between Raymond Chandler, the Coen brothers, and the cinema post-tarantiniano (with a splash of theatre: McDonagh has written a lot to the theatre before coming to Hollywood) tells us about the world, depressing ruthless and populated by individuals who seem to be forced to wear armor plated with the cynicism to resist life; parades those armor comes out of humanity, and the tones from a black comedy turn point blank into the waters of the drama, a pure, warm and moving.

You want a world of good to the removed inhabitants of Ebbing, Missouri. And you want a world of good to this film. Why, after seeing it, it will be difficult to think of a better way than this to begin a new year of cinema.

Three Posters Ebbing, Missouri, by Martin McDonagh | Review of




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