You think you can see the roadmap, but it’s far from predictable. But is revenge the only absolution? To this end, McDonagh subverts and surprises. If often feels like McDonagh is channelling David Lynch, but within the black humour, the unwavering through-line is a mother’s determination to obtain justice for the crime that has left her daughter six feet under. Other notable characters in ensemble are Mildred’s neglected son Robbie (Lucas Hedges), Red (Caleb Landry-Jones), the owner of the advertising agency, an unwitting pawn in the bloody battle of three billboards and the town midget James (Peter Dinklage), a kindly suitor. When the sheriff asks him who has complained, Dixon replies, “A lady with a funny eye, and a fat dentist." He’s a touch over-the-top at times, but McDonagh uses Dixon’s character arc to explore the theme of redemption. Politically incorrect and cocky about his position, his disinterest is exemplified in the scene where he says he has recorded complaints about the billboards. Then there is the chaos around officer Dixon (Sam Rockwell), a racist, violent mama’s boy of a cop.
After a long while we get to see Harrelson play it straight and fine. It’s a cleverly designed dance between the unpopular Mildred and Willoughby, who has the town’s sympathy. The relationship between Mildred and Bill Willoughby (Woody Harrelson) is, to borrow McDonagh’s metaphor, akin to a chess game. Principal among them is the sheriff, who, by virtue of his office, is squarely in Mildred’s crosshairs. The crime is still occupying emotional space in the town: some are connected to Mildred through pain and loss, others through guilt. McDonagh’s idea is to build on the universality of the emotions and spotlight the unexpected reactions of the characters.
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