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It's very difficult to keep the line between the past and the present.

You believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome back to the next picture show, a movie of the week podcast devoted to a classic film in the way it's shaped our thoughts on a recent release.

I'm Tasha Robinson, here again with Scott Tobias.

Genevieve Keevskie.

On the first half of this episode, we discussed State and Maine, David Mamet's antic-black comedy about a hapless director trying to make a film while everything around him is falling apart.

Or possibly it's a film about a put-upon screenwriter who's just looking for a second chance.

Or maybe it's a movie about a creepy sex offender of a leading man who discovers he can count on his bosses to bail him out of any trouble.

It's up for debate, really.

But Martin McDonough's three billboards outside Ebbing, Missouri is a lot more specific. It's another black comedy with an ensemble cast full of famous faces, but this one is more clearly the story of

Mildred, played by Francis McDormid, and how she takes on the establishment in her small town,

trying to get the police department to properly address the rape and murder her of her daughter

seven months ago. Martin McDonough came to cinema from the stage, where he originally wrote

plays about Ireland and his family roots. And his film scripts came to cinema from the stage where he originally wrote plays

about Ireland and his family roots. And his film scripts tend to read like opened up stage

plays. They're crammed with characters, full of speeches, prone to dramatic plot turns,

and often fixed in specific spaces that feel like stage sets, as his characters fence and

banter with each other. Like David Mamet, he gravitates towards

...