Three Billboards Outside Ebbing, Missouri - a nearly perfect movie

If you saw this film, how did you rate it?

  • Total voters
    64
Never watched In Bruges and Seven Psychopaths, but I am a Rockwell and Woody fan. Must I watch?
 
Woody Allen isn't the tone I'd felt. It's closer to BREAKING BAD.
 
SSgt Dickweed said:
Never watched In Bruges and Seven Psychopaths, but I am a Rockwell and Woody fan. Must I watch?
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Colin_Farrel-Disgusted.gif
 
Saw this tonight and thought it was quite good. Probably a Top 5 movie of the year.

It was a strange film, though. Tonally I found it inconsistent, veering from the fairly lighthearted tone of a dark comedy to suddenly taking itself REALLY seriously.

Also, I'm still trying to figure out why Rockwell's character wasn't arrested on attempted murder charges. I mean, he just beat the shit out of a guy and threw him out of a second-story window--right in front of the new chief of police--but all that happens is he loses his job?

All in all though I found it to be an excellent film, entirely unique and original, and very Coen-esque even though the Coens weren't involved.
 
SSgt Dickweed said:
Never watched In Bruges and Seven Psychopaths, but I am a Rockwell and Woody fan. Must I watch?
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Ok, I just watched Seven Psychopaths. It seems like one big pile of nonsense. Meta like Deadpool, just not nearly as good.
 
I didn't bother with PSYCHOPATHS, but IN BRUGES is fun and Ralph Fiennes rules in it.
 
Could not agree more. Solid writing and performances all around.
 
JosephDredd said:
I disagree. I think the ending was the best part of a fantastic movie because...

... Dixon ran the DNA of the guy he thinks is the rapist/murderer of Mildred's daughter, but the new police chief tells him that the guy is innocent since he wasn't even in the country at the time. A bit of back-and-forth arguing and we learn the suspect does classified work with the special forces.

Then Dixon and Mildred gear up to confront the man, with Dixon bringing his shotgun. In every other Hollywood movie this is what would happen: they confront the man, an armed confrontation happens, violence/action/etc. then they learn that he WAS the rapist because the military covered up for him.

But we don't see this happen because the movie abruptly ends as they go to confront him. So we've got two possible endings.

One is that he is the killer, but we don't need to see that ending because we've already seen it happen in literally thousands of other movies. We know exactly how that conclusion is going to go.

The other option is that he's innocent of Amanda's rape/murder in which case... we're left to wonder how everyone handles the moment. How will Mildred handle the act of violence they've planned? How will the new, mature Dixon handle the mission of vengeance as he tries to let go of his hate?

I went into the ending of the movie thinking that the guy was the actual rapist/murderer, especially since he taunted Mildred in her store, and that he was being protected by the military. I bought into the entire Hollywood ending that the movie had set up, expecting them to confront him, fight/kill him and then find evidence of his guilt. I was so absolutely surprised and astonished to see them end the movie when they did... it was the typing point of a great movie falling into a typical Hollywood shoot-em-up ending or staying its course as a thoughtful, original, compelling drama.

I loved it. What a great way to fuck with the audience's expectations.
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What I got from Dixon's evidence and the chief officer was that the man was innocent because he was out of the country. The man did confess and bragged about rape to Mildred and was overheard by Dixon. He was not guilty of Mildred's daughter's rape but he did rape someone before and probably overseas. Thats why they Dixon told Mildred that they have the wrong guy but that he does know that he did rape someone
 
Been meaning to watch this one, especially after @INTERL0PER recommended it. It’ll be first up on my next movie night I’m thinking.
 
Ok, I'm not going to read this thread past the OP for fear of spoilers, whether intentional or inadvertent. I love this guy's work with In Bruges and 7 Psycopaths. Woody and Sam are great together. I'm pumped about this one. I'm gonna avoid any mentions/trailers of this flick until I get a chance to see it.

Thanks OP for the write up as this was not on my radar. Finally a movie worth getting excited about. (when I wrote that, it reminded of me of in the end of Arthur w/ Clive Owen when I believe it was Skaarsgard talking about Arthur and he states "Finally, a man worth killing" :D )
 
shadow_priest_x said:
Saw this tonight and thought it was quite good. Probably a Top 5 movie of the year.

It was a strange film, though. Tonally I found it inconsistent, veering from the fairly lighthearted tone of a dark comedy to suddenly taking itself REALLY seriously.

Also, I'm still trying to figure out why Rockwell's character wasn't arrested on attempted murder charges. I mean, he just beat the shit out of a guy and threw him out of a second-story window--right in front of the new chief of police--but all that happens is he loses his job?

All in all though I found it to be an excellent film, entirely unique and original, and very Coen-esque even though the Coens weren't involved.
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Have you watched the news in that last few decades? How many cops don't even lose their jobs for killing people.
 
dc007 said:
Have you watched the news in that last few decades? How many cops don't even lose their jobs for killing people.
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Well that's because the courts rule that those were JUSTIFIED killings and in fact probably most of them were. It's hard out there on the streets when cops are having to deal with situations like this:





But obviously what Sam Rockwell's character does in the movie could not be justified in any way.
 
coopdro said:
Ok, I'm not going to read this thread past the OP for fear of spoilers, whether intentional or inadvertent. I love this guy's work with In Bruges and 7 Psycopaths. Woody and Sam are great together. I'm pumped about this one. I'm gonna avoid any mentions/trailers of this flick until I get a chance to see it.

Thanks OP for the write up as this was not on my radar. Finally a movie worth getting excited about. (when I wrote that, it reminded of me of in the end of Arthur w/ Clive Owen when I believe it was Skaarsgard talking about Arthur and he states "Finally, a man worth killing" :D )
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No spoiler here but highly recommended because a movie that doesn't involve any of the Cohen brothers was more Cohen than any other Cohen films
 
ookii said:
No spoiler here but highly recommended because a movie that doesn't involve any of the Cohen brothers was more Cohen than any other Cohen films
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I legit was worried to click on the notification from being quoted. I'm stoked dude, seriously. I haven't really been excited about many if at all films in recent memory.
 
ookii said:
What I got from Dixon's evidence and the chief officer was that the man was innocent because he was out of the country. The man did confess and bragged about rape to Mildred and was overheard by Dixon. He was not guilty of Mildred's daughter's rape but he did rape someone before and probably overseas. Thats why they Dixon told Mildred that they have the wrong guy but that he does know that he did rape someone
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You're right. I don't know why I didn't make it sound like that as I was describing the non-Hollywood scenario.
 
shadow_priest_x said:
Oh oh, Three Billboards getting heat for being racially insensitive.

What's most retarded about this is that Dixon's racist past are soundly condemned and ridiculed, not affirmed.

https://www.usatoday.com/story/life...ing-growing-backlash-against-oscar/977024001/
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As I was going through the article, I felt that most of the criticisms were bullshit, since people were essentially saying they wanted the movie to be a totally different movie, focused on different characters and different stories.

BUT... this criticism has some merit, imo:

And in the Daily Beast, writer Ira Madison III compares Three Billboards with Crash, Paul Haggis' controversial Oscars best-picture winner that faced the same criticisms of using black characters’ suffering as a mechanism for the white characters’ redemption narratives. “(Three Billboards) attracts the type of crowd that likes to reward simplistic tales of racism like Crash, where white people learn how to be good to one another at the expense of black people,” Madison writes, calling Dixon’s storyline “the type of journey that will surely tug at the heartstrings of industry voters and might just lead to awards success."
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I don't know, maybe movies will be written differently in the future, but right now this movie is a damn fine example of a possibly-outdated story convention.
 
shadow_priest_x said:
Oh oh, Three Billboards getting heat for being racially insensitive.

What's most retarded about this is that Dixon's racist past are soundly condemned and ridiculed, not affirmed.

https://www.usatoday.com/story/life...ing-growing-backlash-against-oscar/977024001/
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I think the whole point of Dixon was to make a despicable guy and having him change his ways and find redemption in the end. His whole character changed in the end because of Willoughby's letter and the Billboard agency guy forgiving him even after being beat up by Dixon
 
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