Mother’s bid to shame cops into finding her child’s killer stirs up anger and violence in a small town in this dark masterpiece

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

HELL hath no fury like a grief-stricken mother scorned in London-born writerdirector 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 billboard with a message aimed at the man responsible for apprehending the culprits.

“To me, it seems like the local police department is too busy going round torturing black folks to be bothered doing anything about solving actual crime,” Mildred tells a local TV reporter on air.

Officer Jason Dixon (Sam Rockwell), who is under the thumb of his bigoted mother (Sandy Martin), reacts violently to Mildred’s provocations. Mildred’s teenage son Robbie (Lucas Hedges) also suffers abuse at school as a result of his mother’s inflammatory actions, but Mildred refuses to back down.

Three Billboards Outside Ebbing, Missouri creates a vibrant portrait of small town life torn asunder by personal vendettas and retribution.

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 and there is glorious support from Harrelson.

McDonagh directs with an assured hand, deftly juggling the ticking time bombs of ghoulish comedy and tragedy.