But despite the chief's fairness, he's supportive of one of his cops, Dixon (Sam Rockwell), a mommy's boy racist rumored to have tortured a black prisoner and when Dixon gets involved with advice from his mom (Sandy Martin, "Napoleon Dynamite"), the situation escalates. That's because Willoughby (Woody Harrelson) is beloved by his community, a good guy with his own impending tragedy, something Mildred is well aware of and not unmoved by. The citizens of Ebbing are horrified by the massive orange-red signs which read 'Raped while dying,' 'And still no arrests?, 'How come, Chief Willoughby?' as one drives down Drinkwater Road. Pleased to profit from a long forgotten asset, Red takes the job.
Right after noting those shabby billboards reflecting ads from decades past, Mildred marches into Ebbing Advertising, asking owner Red Welby (Caleb Landry Jones, "American Made") if her message is legal. It is the arbiter between the town's two most emotionally afflicted who receives our sympathy, not the film's protagonist. But McDonagh hasn't written a character piece so much as an analysis of rage. The film, which has elements of a Western in both story and music (Carter Burwell, "Wonderstruck"), was written for McDormand and although it is nigh impossible to imagine anyone else in this role, it is also a Midwestern spin on the actress's Olive Kitteridge. Irish playwright Martin McDonagh stormed onto film screens with his debut, "In Bruges," then disappointed with his followup, "Seven Psychopaths." His third film finds him back in form with a pitch black, if not quite pitch perfect, comedy brought to life by an outstanding cast.