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ELL hath no fury like a grief-stricken mother scorned in London-born writer-director Martin McDonagh’s blackly comic thriller, which pits one vigilante parent against her local police force in a fictional midwestern town.

Impeccably scripted and blessed with a blistering lead performance from Frances McDormand, Three Billboards Outside Ebbing, Missouri is a near perfect film.

McDonagh’s explosive morality tale is fuelled by the righteous anger of a spirited woman, who will not rest until all lines of inquiry have been exhausted in the pursuit of justice.

Her stand sparks sickening violence that may divide audiences, including one shocking scene in a dentist’s surgery, but the brutality always serves the lean, muscular narrative.

It has been seven months since Angela Hayes was raped and murdered on her way home. The dead girl’s stoic mother, Mildred (McDormand), is infuriated by the lack of progress under police chief Bill Willoughby (Woody Harrelson).

She rents three advertising hoardings from Red Welby (Caleb Landry Jones) on the outskirts of town and emblazons each Above: Sam Rockwell’s police officer clashes with Frances McDormand as a grieving mother determined to publicly shame the local police into catching her daughter’s murderers billboard with a message aimed at the man responsible for apprehending the culprits.

Officer Jason Dixon (Sam Rockwell), who is under the thumb of his bigoted mother (Sandy Martin), reacts violently to Mildred’s provocations but Mildred refuses to back down.

Three Billboards Outside Ebbing, Missouri creates a vibrant portrait of small town torn asunder by personal vendettas. McDormand is magnificent, skilfully letting her character’s frustrations come to a boil, with harrowing consequences.

The journey of Rockwell’s racist cop isn’t wholly believable but his portrayal papers over the cracks, while McDonagh directs with an assured hand, deftly juggling the ticking time bombs of ghoulish comedy and tragedy.