Three Billboards (McDonagh, McDormand, Rockwell, Harrelson)

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby Viola Swamp » Mon Dec 04, 2017 9:28 pm

i'd compare it to CAROL
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Postby internetfriend » Mon Dec 04, 2017 9:28 pm

Viola Swamp wrote:
The Good Jugdish wrote:this guy made a movie called SEVEN PSYCOPATHS


good movie

absolutely not
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Postby Viola Swamp » Mon Dec 04, 2017 9:32 pm

i'll admit it had at least three fewer billboards than this one
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Postby blurst of times » Mon Dec 04, 2017 9:33 pm

but it had 7 more psychopaths. overall that movie comes out ahead by...4?
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Postby Wrong Titus » Mon Dec 04, 2017 9:45 pm

murray st. wrote:the closest film i can compare this to is "pain and gain" in terms of its tonal insanity and complete belly-flop of an attempt at humanistic storytelling


Whoa, you're right
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Postby Viola Swamp » Mon Dec 04, 2017 10:04 pm

ratbags wrote:*throws out viola swamp's books*


Image

Image

Image
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Postby trouble » Mon Dec 04, 2017 10:07 pm

Pain and Gain seems like the kind of movie this board would have went gaga for
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Postby looselimbs » Mon Dec 04, 2017 10:26 pm

i am the One Hipinion Board and i'm here to say pain & gain owns
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Postby aububs » Tue Dec 05, 2017 8:11 am

pain + gain is cool

I liked it
no buddy not really
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Postby landspeedrecord » Tue Dec 05, 2017 10:36 am

pain and gain is a modern classic
rather be an idiot than a sheeple
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Postby lordofdiapers » Tue Dec 05, 2017 10:45 am

Gnarls wrote:She's swearing that's nuts
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Postby Marx & Engels » Wed Dec 06, 2017 1:47 am

landspeedrecord wrote:you are misreading the film's tone, severely (I took offense at the "becoming best friends with McDormand" line especially)

we are talking about a ignorant police officer and a guilty mother who are both powerless to make up for their past transgressions and are willing to dole out vigilante justice so as to feel as though they are actually contribute positives to society. the drifter isn't evil incarnate, it's just some dude sharing a story because it makes him appear tough

I don't think the film glorifies or romanticizes flawed individuals, I think it demonstrates that even though all these characters can be judged for basic things about them, they are more three-dimensional and complicated than they get credit for


Right after seeing the movie, I was pretty willing to forgive the moments that felt tonally off as an effort, however questionably executed, to showcase everyone as realistically flawed and redeemable.

But the more I think about it, there are characters that are given too much implausible grace, and they just happen to be the ones in positions of authority. I thought it was interesting when they set up Woody's character as a "good, reasonable family man" who was willing to overlook miscarriages of justice when a guy he liked did it. But that ~complex~ characterization gets ruined when it turns out Woody was actually right that the racist fuckup just needed a little nudge to become a selfless hero.

Likewise, some of the flaws given (and not given) to McDormand's character feel like total missteps. It's fine to show that her lack of power is causing her to act out in ways that are negatively affecting her son. It's bizarre to write in "she's mean to the town midget!" as a gag/pathos two-for-one. It's bad to largely ignore her relationship with her black co-worker as anything other than a "look, she's got a tangible connection to this town's otherwise invisible mistreated black community," particularly when McDormand's actions result in her arrest.

In a movie with a bunch of clunky Speaking Truth To Power — In A Badass Way moments like the priest scene, those character choices have left me with an increasingly unpleasant feeling the more I've thought about it.

In conclusion, it stoinks!
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Postby Brouhaha » Wed Dec 06, 2017 2:39 am

this was a lot of fun(especially the first hour), probably the most I've laughed in a good while during a film

miles better than that logan lucky snoozefest some of you were touting
make it mild
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Postby gold and glass » Tue Dec 26, 2017 5:10 pm

Wrong Titus wrote:
gold and glass wrote:seriously though the whole point is that they're not actually redeemable how the fuck did you miss that ... midget!!


Aw c'mon, this movie might as well have been Three Billboards: A Sammy Rockwell Redemption Story


you think that the character who at the end of the film is driving across state lines to potentially murder a random stranger because he thinks he might have done something has redeemed himself? he is the same fuckin guy at the end as he is at the beginning
fuck you and your corporation
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Postby gold and glass » Tue Dec 26, 2017 5:13 pm

i am pretty sure none of the people criticizing this movie have ever lived in small redneck towns
fuck you and your corporation
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Postby vivian darko » Tue Dec 26, 2017 8:25 pm

edit I don't have the energy or willpower for internet sniping, esp w people I like, anymore

I did not like this movie
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Postby trouble » Tue Dec 26, 2017 9:09 pm

im pretty sure none of the people criticizing the dream academy never lived in northern towns
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Postby blurst of times » Tue Dec 26, 2017 9:33 pm

my biggest issue with the ending (and i think the ringer review linked to earlier also pointed this out) is that it creates a kind of shitty false equivalence between mcdormand's and dixon's lust for violence. sure, hate begets hate, but there's a difference between legitimate anger and hatred based on bigotry, which the movie doesn't fully seem to grasp

imo!
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Postby Wrong Titus » Tue Dec 26, 2017 10:55 pm

gold and glass wrote:
Wrong Titus wrote:
gold and glass wrote:seriously though the whole point is that they're not actually redeemable how the fuck did you miss that ... midget!!


Aw c'mon, this movie might as well have been Three Billboards: A Sammy Rockwell Redemption Story


you think that the character who at the end of the film is driving across state lines to potentially murder a random stranger because he thinks he might have done something has redeemed himself? he is the same fuckin guy at the end as he is at the beginning


I don't, and apparently you don't, but it felt the movie did. You're pretty much commenting on what I found so off about the movie. I felt it took pains to present Dixon as likeable/misunderstood/trying to better himself in the second half, even positioning him into the costar of the film (after Woody died).

I'd agree with you if the direction/writing was different. In Taxi Driver, the film's presentation of Travis Bickle's "redemption" is ambiguous. If Three Billboards treated Dixon as Taxi Driver did Travis Bickle (or Sopranos treated Tony, etc etc), I could agree this was some comment on violence begetting violence. Tonally, it doesn't feel that way to me. I think the movie wanted us to like and partially forgive Dixon in the end, as the character who offers him a glass of orange juice does. I think Martin Mcdonah liked him when he wrote him. He loved his characters too much to really hold any of them accountable.

I thought this review was interesting
https://psmag.com/social-justice/three-billboards-bad-on-race
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Postby death is my amigo » Tue Dec 26, 2017 11:50 pm

Wrong Titus wrote:
murray st. wrote:the closest film i can compare this to is "pain and gain" in terms of its tonal insanity and complete belly-flop of an attempt at humanistic storytelling


Whoa, you're right


holy shit i've never been more thoroughly sold on not seeing a movie
so
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Postby saranclaps » Wed Dec 27, 2017 11:32 pm

Brouhaha wrote:this was a lot of fun(especially the first hour), probably the most I've laughed in a good while during a film

miles better than that logan lucky snoozefest some of you were touting
Comparing this to Logan Lucky is like comparing The Hours to Spider-Man Homecoming.
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Postby trouble » Mon Jan 01, 2018 9:22 pm

i was hoping maybe this would be a MOR at worst viewing experience and the disgust displayed here was classic del-fueled hypebole but man this shit stunk. Belongs in the same world as The Book of Henry.

I didn't even like In Bruges so fuck it. :)
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Postby A WOMAN IN TROUBLE » Mon Jan 01, 2018 9:32 pm

the thing about in bruges is that it's actually like fun to watch. probably due in large part to the chemistry between colin "velro" farrell and brendan gleeson. i think ralph fiennes actually has a good time with his [caricature of a] character as well.

seven psychopaths was awful, and like trouble i thought this might have been another hipinion negativity train, but fuck, martin mcdonagh, what the fuck lol

i enjoy and support frances mcdormand and sam rockwell so i'll be happy for them in whatever dumb awards they get pushed for/towards, but this film does not deserve any success that it has and will receive(d)
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Postby incoherent grunting » Mon Jan 01, 2018 9:55 pm

I had no idea this shit was marketed as a "black comedy". Wtf?
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Postby bongo » Mon Jan 01, 2018 10:14 pm

deeply mediocre film

why is anyone talking about it period
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby CoolRanch » Mon Jan 01, 2018 10:21 pm

blurst of times wrote:i saw this last night, and while i'll admit i liked francis mcdormand and there were some entertaining moments here and there, i thought it was mostly a mess. the movie's politics were muddled at best and (more likely) offensively bad at worst. it tackled issues like police brutality and domestic violence without ever giving them the gravity they deserve, and sam rockwell's entire character arc was like the film equivalent of that nyt nazi profile. the whole thing just felt like an excuse for characters to hurl racial slurs and make midget jokes.

i've been arguing with my friend (who loved the movie) about this since we saw it last night and i don't think we're ever gonna see eye to eye on this.


yes!! this is how i felt about it
was very confused by the universal praise
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Postby delgriffith » Mon Jan 01, 2018 10:24 pm

Pope Laserblast IV wrote:is there a moment in this movie when i can nudge my partner and do the whole 'that's the three billboards' bit

Yeah.
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Postby vivian darko » Mon Jan 01, 2018 10:50 pm

This movie thinks it's plumbing the depths of moral complexity, but it's just repeating the same problem (what if sympathy is mutually exclusive?) with slight variations. There's a difference between not offering a solution to the problems you're invoking and being apparently uninterested in a solution, hoping that just pounding your head against the wall again and again counts as nuance. The closest we come to an idea (anger is cyclical!) is the trite, neat solution that McDonagh intends to circumvent. His use of race is especially telling when it comes to how simplistic the morality of the film really is.
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Postby trouble » Mon Jan 01, 2018 11:06 pm

this might as well been the fourth season of Fargo, at least it was eight hours shorter.
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Postby trouble » Mon Jan 01, 2018 11:09 pm

bongo wrote:deeply mediocre film

why is anyone talking about it period


there isn't an I, Tonya thread where I can complain about the Scorsese level soundtrack.
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