It ends triumphantly, perhaps not in the way one would assume, but in its tragic emphasis of a hard truth Districh’s Marie Kolverer knows from the very beginning: she can’t be herself and expect to survive in a world governed by men who would never let her be powerful.
**Disclaimer: I’m writing this from the comfort (and safety) of my tub so forgive me if the following thoughts about the final film in Luca Guadagnino’s desire trilogy (his words, not mine) are full of messy tangents, colloquialisms, and/or plain old stupid ideas A part of me thinks I should wait to write this informal review. I should wait until I feel less crushed and more critical, but another part of me — that part that’s already won — believes…
There’s a moment near the beginning of Three Billboards where the never not stellar Frances McDormand delivers a chilly monologue to a Catholic priest. She schools him on insitutional corruption, speaking about the Church to make a larger point about something more personal to her. Her daughter was raped and murdered, and the police haven’t done much. She’s angry.
It’s here where Three Billboards seems like it’s gonna be more than your typical McDonagh picture full of wit and violence.…