Three Billboards Outside Ebbing, Missouri (2018)

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Heating up the awards season with a tale of anger and conflict, this drama/thriller is one that greatly explores a small scale of America as a whole and the inner motivations of the people within that world.

Driven by the unsolved case of her murdered daughter; Mildred Hayes (Frances McDormand) decides to rent 3 almost dilapidated billboards, in a call for possible action against the police she sees as unhelpful in their progress. Sheriff Willoughby (Woody Harrelson) is targeted by Hayes and tries to make her realise the death of Angela is a tricky one, but a racist and hot headed officer, by the name of Dixon (Sam Rockwell) plus Mildred’s determined anger may make this whole saga come to blows.

I’ve always loved Martin McDonagh’s work; from his play-writing of dark and fairy tale tinged ‘The Pillowman’ to one of my favourite films…ever, ‘In Bruges’. This new release from the Irish/British writer is just as dark and clever as I expected. The black comedy involved is as sharp as a knife and works expertly against the numerous moments of well placed burning drama. It’s a film that balances tones well and keeps a strong willed, unrelenting female figure at it’s forefront in a quest for justice. This couldn’t be more suitable to the real world at the moment and McDonagh ensures this brutal track of wanting answers is funny and a shocking sucker punch to the gut as well.

There has been a recent surge in people hating on the film, for it’s attitude towards racism and the character that takes a swift turn to good. Though I can see that side of the argument because this shift in Dixon’s behaviour, just because a letter sees them act differently, is a somewhat unexpected and rushed change to make, it doesn’t completely endorse the views they have/or had. They’re still a dumb and corrupt individual just hoping to come good and this whole movie is about hope; the hope of a mother finding justice.

Aside from the midst of backlash it’s facing, there comes some serious weight from the consequences of this red backed billboards which definitely polarise the Ebbing community. The great quality of this film is that is a spiralling descent into violence and anger because of how far a parent will go to seek answers and get some kind of closure. The drive is fiery and thrilling and each and every character has a scene that conjures up either a respite of laughter or a dramatic kick of unexpected tensions.

Frances McDormand is sensational in this and is deserving of every award going. It’s not just the angry vengeance that she effortlessly sells. There is a necessary and believable anguish, pain and emotive guilt to her portrayal of the character that really makes Mildred a three dimensional force to be reckoned with. Woody Harrelson is great in this, handing a sheriff with a bullseye on his head more than just a working cop, he’s a family man, sympathetic to Mildred and his narrative takes some nice and surprising turns. Sam Rockwell is finally getting recognition after a heap of turns in previous films that have almost always been the best quality. The writing of his character may be the most obvious weakness I faced but if anyone can sell it then it’s the talents of Rockwell. Peter Dinklage and Samara Weaving are two almost backseat passengers but they bring a brilliant buzz of humour to the film.

I’d been eagerly awaiting to see ‘Three Billboards…’ for a long while now and I can confidently say I’m not disappointed by it. There may be a slight niggle of a character journey but it doesn’t take away from how dark and beautiful this movie is. McDormand and the film are a thrilling delight.

8/10

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The Babysitter (2017)

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Released on spooky Friday the 13th  this adolescent horror comedy never really gets to grips with either the horror or comedy element. It can; I guess, be viewed as entertaining at points but it’s nothing I’d rush to see again or make a friend see. It belongs where it sits – on Netflix where a late night scroll could end you up watching this tackily made brash trash.

Frequently bullied twelve year old Cole (Judah Lewis) is excited that his parents are off to a hotel because that means the babysitter will be round. He may be the only schoolkid with one, but he has a fun and good relationship with Bee (Samara Weaving). She looks out for him and they share similar interests but one night after goaded by neighbour Melanie (Emily Alyn Lind), Cole keeps himself awake to see just what it is that Bee gets up to when he’s usually asleep. The answer may surprise and shock Cole leaving him experiencing a strangely bloody night.

I knew there was a horror/blood-soaked element attached to this film but I didn’t really look into what the plot was about so I won’t spoil what happens to kick things off or what goes down but yes…wow…there’s a literal WTF moment, those very words even pinged onto the screen seconds after I’d said them aloud to myself! This is when Cole, and the audience, realise what hell may be unleashed and it certainly is unexpected.

So, I guess that element of genuine surprise is a nice touch but before that occurs, the set up of the narrative and characters feels like it’s been transplanted out of that MTV music channel vibe. It’s as if the movie is souped up on a concoction of drugs; the editing and sounds all crackling and switching speeds like the post-production crew had one too many energy drinks. There are titles on screens, random frozen snap shots of moments and a general aura that this film is trying hard to be cool.

Unlike ‘It’ or my favourite TV show of the moment – ‘Stranger Things’, the child acting in this is quite poor, especially between a trio of bullies and Cole. The actor playing Cole does get slightly better but nothing to write home about. On the note of performances, Bella Thorne as yellow costumed cheerleader Allison is cringe, you see her laughing during her ‘panicked’ reaction to the aftermath of police entering the residence. Weaving is believable and I guess I kind of bought into the change of her character but everyone feels like an over the top parody of horror films as if the writer and director are badly spoofing horrors because they don’t like the tropes they come with.

The movie begins quickly descending into mad carnage but the Bee/Cole pairing was already a maddening awkward dynamic, his boob watch and their party time spent together with Stacy’s Mom inspired pool scene felt like unnecessary gratification for the teen audience, further proven by the Weaving/Thorne girl on girl smooch. It’s not just the obvious sexual edge they try hard with, Brian Duffield the writer seems to attempt comedic tension at times but fails with both.

‘The Babysitter’ is definitely not taking itself too seriously and I get that, but that doesn’t mean I can totally forgive it for having its tongue well and truly shoved in it’s cheek. Immaturity is a word I’d use to describe the tone of this release, there’s not much in here to satisfy comedy or horror fans but I’d imagine fourteen year old lads would be happy.

Looking at the above poster, like a GTA one-sheet or visually inspired by ‘The Guest’, it’s sad to say it doesn’t hold the latter’s synth-horror or skewed drama-comedy bite, it feels more like the underwhelming and juvenile ‘Scouts Guide to the Zombie Apocalypse’. Yet with all this negative talk, I in fact found myself enjoying this 2017 film more and more, if enjoy is the right verb to use. I felt the “see you C and bye bye B” sign off is quirky and cute and I liked it. The movie switches into a semblance of ‘Home Alone’ but R rated and I actually grew to like the film as it went on, it is trashy but it’s like a stupid joyride that you know you should jump out of but want to carry on with.

5/10