THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Frances McDormand     Woody Harrelson     Sam Rockwell     Lucas Hedges     Peter Dinklage     John Hawkes

     The wistful opening song (“The Last Rose of Summer”) previews the emotional tone underpinning this story, even though comedy and drama emerge time and again throughout.  Seven months before, Mildred’s (McDormand) teenage daughter was raped and killed, and as time goes on and no arrests are made, Mildred—never one to shrink from conflict—starts to agitate for more action from the police, specifically Sheriff Willoughby (Harrelson).  He responds to her respectfully, explaining why, and he sounds reasonable; but Mildred is not to be mollified.  To make her case a public issue, she buys space on three billboards outside of town to post this message:  “Raped while dying.  And still no arrests.  How come, Chief Willoughby?” 

     With this action, writer/director Martin McDonagh (In Bruges, Seven Psychopaths) gives us a window into Smalltown, USA, and how politics often work there.  And this is one where the Chief of Police is really conscientious, a mensch.  Not so much one of his officers, Jason Dixon (Rockwell), who has a huge chip on his shoulder, is unapologetic about his racist views, and has no trouble bending the law to suit himself.  Sheriff Willoughby has a challenge in mentoring him in his wish to become a detective. 

     When Mildred singles Willoughby out for her rage, she riles up most of the town folk who are already feeling sympathy for him because word has gotten out that he has cancer.  Some of the truths McDormand is illustrating is that the general public’s memory is short (seven months has made them “forget” the murder); few understand the depth of grief following the loss of a child (the very worst thing to happen to people and something that keeps going on across time), particularly when guilt is involved; and still the genuine caring and protectiveness seen when some in the community understand the issues and act accordingly.  McDonagh shows all these complexities with sensitivity and an even hand. 

     How does an Irishman get to know this?  McDonagh talks about taking bus rides around the U.S., visiting small towns, and acquainting himself with the people who lived there (Interview on Charlie Rose, 11/9/17 on PBS).  He saw a billboard in one place that first stimulated his thoughts about making this film.  In addition, McDonagh brings his own sensibilities to his dramas; in this case, showing characters in such depth, we see their strengths and weaknesses in equal measure.  And he goes further in showing redemptive experiences, where his characters actually acquire some insight and valiantly try to make positive changes. 

     McDonagh chose his cast carefully and well.  From the beginning, he knew he wanted McDormand, Harrelson, and Rockwell; and do they all shine.  McDormand is a shoo-in for award nominations for her performance here (previous wins have been an Oscar for Fargo, a Golden Globe for Olive Kitteridge, and Independent Spirit Awards for Friends with Money and Fargo), and her work has been consistently top-notch.  Rockwell deserves supporting role awards for his Dixon, whom he manages to make you hate in the beginning, and then have some sympathy for when he at least partially redeems himself.  Harrelson may not be considered for an award this year for this film, but he lends his expert rendition of a character with good judgment for whom we have great sympathy.  He, McDormand, and     Rockwell are all good for the high comedic moments as well as the drama in this film.

     McDonagh’s collaborators in music (Carter Burwell) and cinematography (Ben Davis) help make this film the artistic triumph it is.

A film likely to be on the award circuit when the time comes.

Grade:  A                                    By Donna R. Copeland

WAR ON EVERYONE

Alexander Skarsgard     Michael Pena     Theo James     Tessa Thompson     

Stephanie Sigman     Caleb Landry Jones     Malcolm Barrett

      The talented British (Irish descent) brothers, John Michael (Calvary, The Guard) and Martin (Seven Psychopaths, In Bruges) McDonagh, write and direct edgy films that grab you emotionally, and simultaneously make social statements about the world we live in.  In War on Everyone John Michael presents a film shot in New Mexico about two rogue policemen who skirt the law and feel free to render justice as they see fit. 

      Bob Bolano (Pena) is the more levelheaded one who feels responsibility toward the more impulsive Terry (Skarsgard).  They share such a brotherly connection that Bob’s kids call Terry “Uncle Terry”.  By having these two officers take matters into their own hands at the risk of their careers, McDonagh will appeal to the sympathies of some viewers, those who have little investment in adherence to U. S. law and the Constitution, and perhaps as a reaction to recent reports of police misbehavior.

       In this light, Bob and Terry have no compunction about demanding a percentage of the profit from criminals, and when Terry’s current love (Thompson) asks how he can afford such a nice house, he shrugs her off.  Both men regard possessions as disposable (when his son’s Xbox is thrown down and broken, Bob will simply demand another from one of his arrests), yet unlike religious figures who shun possessions on moral grounds, Bob and Terry seek the American dream of entitlement and ownership.  Pena and Skarsgard seem perfect for these roles, and make a good comedy team in their bumbling and Pena’s attempts to quote maxims and philosophies.

       This film has major violence, which should be taken as symbolic more than as a recipe to follow.  When Bob and Terry take on wealthy James Mangan (Theo James), they encounter someone who has fewer scruples than they do, but they are determined to bring him down on their own, even though they’ve been suspended from the police force for their behavior.

     Although John Michael McDonagh’s previous films have been some of my favorites, I don’t particularly care for this type of film in which policemen have no regard for their responsibility, and compete with criminals for the loot.  Perhaps I have taken it too seriously.

     The music of Lorne Balfe, with the insertion of Glen Campbell ballads at pointed or random times lightens the experience of the film and made me smile.  Bob Bukowski’s cinematography is another characteristic that heightens the value of War on Everyone. 

A surreal buddy-cop spoof on law enforcement in the U.S.

Grade:  C+                                    By Donna R. Copeland