In Bruges Review

"In Bruges" reviews

Movie

In Bruges

Author

anonymous

Date reviewed

2009-10-08 21:48:31

Rating

3.5/5

Provider

CinemaSource

Review

Don't know where Bruges is? You're not alone, per the running joke in acclaimed playwright Martin McDonagh's fun and foulmouthed black comedy that will likely put Colin Farrell back in our good graces.

Story

"Don't get into any f--king trouble. We're keeping a low profile," Ken (Brendan Gleeson) warns fellow hit man Ray (Colin Farrell) when they arrive in Bruges (it's in Belgium, for those not familiar with the city named 2002's European Capital of Culture). And for good reason. Back home, Ray botched his first assignment—the assassination of a priest—by also accidentally killing a young boy. Now Ken and Ray are in hiding in Bruges on the orders of their volatile boss, Harry (Ralph Fiennes). At first, the glum and impatient Ray does as he's told as he accompanies Ken from one tourist attraction to the next. Ken can't wait to explore a city that's rich in history; Ray thinks he's in purgatory, which isn't too far from the truth, metaphorically speaking. But Ray soon cheers up when he wanders onto a film set and scores a date with Chloë (Clemence Poesy). Unfortunately, Ray should have heeded Ken's words, because Chloë brings with her nothing but trouble. By associating with Chloë, Ray soon finds himself at odds with her skinhead boyfriend (Jeremie Renier) and a little-person actor (Jordan Prentice) with a big appetite for drugs. Then comes the phone call Ken's been dreading from Harry. He's so pissed with Ray that he orders Ken to knock off his protégé between sightseeing excursions. Not that the reluctant Ken may have to even pull the trigger. Ray's feeling so guilty about what he's done that's he contemplating suicide…

Acting

For someone who's spent the past few years toiling under some of Hollywood's most famous directors, Farrell hasn't had much to show for his efforts. And his career and reputation's suffered as a consequence. In Bruges, though, proves what we suspected all along: that the camera loves Farrell when he's in his element. Here he possesses a roguish charm and a classic Irish temperament that's befitting of his conflicted assassin. And he's damn funny. "They're filming midgets" isn't really indicative of the razor-sharp dialogue to be found in In Bruges, but Farrell blurts the line out with all the energy and enthusiasm of a kid who's just walked into Santa's workshop. He also does an admirable job of conveying the Catholic guilt that Ray feels for taking an innocent life (unlike his turn in Cassandra's Dream). More important, Farrell and Gleeson make for a classic odd couple. Writer-director Martin McDonagh mines much humor from their obvious differences, but you're left with no doubt that our antiheroes genuinely like each other. Accordingly, the calm and collected Gleeson possesses all the qualities of a father figure. Ken's quite often exasperated by Ray, but there's never a lack of fondness or concern to be found in Gleeson's performance. Fiennes' played many villains, but never for laughs. With his bad teeth and common-as-muck accent, the menacing Fiennes has a blast letting loose as the unhinged Harry. Poesy possesses a nice smile, but that's about it. The straight-faced Prentice, though, almost steals In Bruges as he gamely works with McDonagh to shatter many preconceived notions Hollywood harbors toward little people.

Direction

Yes, this is yet another darkly comic mediation on hit men enduring existential crisis brought on by their chosen profession. Yet McDonagh—best known as the playwright of The Lieutenant of Inishmore—gets a kick out of toying with the conventions that have made this sub-genre of the buddy movie so tired. That's never more evident than during the bloody showdown between Farrell and Fiennes. How often does a foot chase come to a halt so someone can consult a map? Or that a warped sense of what's right or wrong would seal both characters' fates? Sending Ken and Ray to Bruges is a stroke of genius. Much is made of the fairy-tale quality of the city, so the violence that follows our fish out of water is in total contrast to the peace and quiet of their surroundings. That doesn't necessarily mean there's a "happily ever after" for all involved, as McDonagh foreshadows in a painting about Judgment Day that catches Ray's eye and a film within the film that hilariously pays homage to Don't Look Now. And while bullets don't quite fly as fast or frequently as the F-bomb is dropped, McDonagh makes sure that the brutality that Ray and Ken think they've left behind follows them to Bruges. He doesn't flinch in showing us that they are killers, and that their actions have sad, unintended consequences. That said, In Bruges is never more entertaining than when it takes a tongue-in-cheek approach to chronicling its morally dubious subjects' misadventures. So if you enjoyed last year's underappreicated You Kill Me, book yourself a return ticket to Bruges.

Bottom Line

Hollywood.com rated this film 3 1/2 stars.

Movie

In Bruges

Author

anonymous

Date reviewed

2008-04-11 16:40:23

Provider

Review

Acclaimed as a Tarantino for the theatre, the playwright Martin McDonagh's first film, Six Shooter, won the Oscar for Best Short in 2006. With his debut feature he demonstrates exactly that blend of violent backdrop and zingy dialogue that made the young Quentin the most exciting writer-director around until he disappeared up his own video collection.

In Bruges stars Colin Farrell and Brendan Gleeson as a pair of Irish hit men, taking refuge in the eponymous Belgian city after the assassination of a troublesome priest culminates in the unintended death of a young boy. "Blowing a kid's head off just isn't done," they're told by their boss, later revealed to be Ralph Fiennes. Ken (Gleeson) is the older and wiser of the pair, whilst Ray (Farrell) is a young hothead, resentful of any attempt to restrain his natural impulses or broaden his horizons. Ken's attempts to get him to inhale the beauties of Bruges are met with all the enthusiasm of a sulky teenager, though it's just one such act of tourism that introduces him to Chloe (Clemence Poesy) and a dwarf, Jimmy (Jordan Prentice), with whom Ray soon starts enjoying the wonders of cocaine and companionship.

McDonagh's script and direction bring out the characters behind the villains. Farrell - seemingly lost to Hollywood hunkdom - is far better than he's been in a long time and Gleeson's been handed his most involving and accomplished role since starring as an impertinent but doomed gangster in John Boorman's The General.

In Bruges piles on the twists, not to keep the audience guessing so much as to tie the seemingly independent roles into the whole. Above all, In Bruges is a film where character rather than convention determines development. If McDonagh is turning from stage to screen then theatre's loss is definitely the film world's gain.