More importantly, he underpins the anarchic nihilism of his narrative with a heartbreaking meditation upon the toxic power of rage. The subject is no laughing matter, but as with his 2008 debut feature, In Bruges, McDonagh’s Chaucerian ear for obscenity provokes giggles, guffaws and gasps in the most inappropriate circumstances. Lacing a western-tinged tale of outlaw justice with Jacobean themes of rape, murder and revenge, McDonagh’s second American-set feature finds a grieving mother naming and shaming the lawmen who have failed to catch her daughter’s killer. L ife and death, heaven and hell, damnation and redemption collide in this blisteringly foul-mouthed, yet surprisingly tender, tragicomedy from British-Irish writer-director Martin McDonagh.
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