411 Mania Review / 27.02.08
Source: 411 Mania
Taking any trip with Colin Farrell and Brendan Gleeson is bound to be exciting.
By combining guns and humor, two favorite traits among cinemagoers, In Bruges kick starts the 2008 movie
season with a sigh of relief following so many disappointments. This is a minor indy action comedy which was released in the middle of what I call Oscar rush. All the stragglers trudge to the theaters to catch up on the intriguing nominees. This timeframe could either help In Bruges attract that particular crowd as they walk through the local arthouse theater, or most will completely overlook any of its casting charm and wait for DVD. Nevertheless, after carving a splendid trailer, In Bruges has delivered an abundance of laughs while not discounting a wildly eccentric, yet refreshing plot.
The best way to describe the story is to leave out as much as possible. Divulging too much will simply ruin the spontaneous hilarity of the quirks. You will find yourself asking some questions after glancing at the preview though. For instance, why is Colin Farrell making fun of an obese family, what is the deal with Ralph Fiennes accent, and how does karate chopping a midget fit into things? Suffice to say, it involves a pair of distinctive hitmen, Ray (Colin Farrell) and Ken (Brendan Gleeson), who must hide out in Bruges, Belgium by disguising themselves as tourists after a botched job. While awaiting a call for further instructions, they spend the days sightseeing and encounter some interesting people. Once specific orders are given from their boss Harry (Ralph Fiennes), they are disobeyed, which then prompts Harry to come after them.
Comparing and contrasting the beginning of Colin Farrell’s mainstream career with blockbuster fare like Minority Report
, to the dramatic shifts of late in The New World is quite fascinating. More and more Farrell is selecting roles that not only suit and amplify his notable characteristics, but broaden his range and appeal as well. As Ray, the disgruntled and impatient young contract killer, Farrell is as engaging and exhilarating as he ever has been. Ray wants no part of Bruges. Fun during this brief vacation for him consists of attending the nearest pub and flirting with a cute female named Chloe on a movie set. Aside from the hilarious one-liners, it is the revelation of why this duo is in Bruges, and how that impacts Ray that makes Farrell’s turn so magnetic and moving. Farrell can nail remorse and panic better than anyone in Hollywood.
However, Farrell’s quality would have been undercut had he not established chemistry with co-star Brendan Gleeson. The consistently reliable and wonderfully versatile Gleeson was the ideal character opposite to exude that Odd Couple brand of wit. He is Ken, the aging veteran who immediately soaks up the culture and discovers a fondness for medieval history in Bruges. At times, Ken acts as a mature chaperone and companion, instead of just a partner allowing Ray to roam free like a kid in a candy store. Gleeson is brilliant, and possesses some truly memorable and poignant scenes where his facial expressions utter every piece of dialogue that viewers do no need to hear.
The reputation and temper of Ray and Ken’s superior Harry, is made clear initially through a very profane and angrily narrated letter when the twosome fail to answer his first call. So when he eventually shows up and is prevented from visiting a popular site as the employee pokes him incessantly on the forehead to ingrain a point, declaring the tower closed, his scathing reaction is priceless and will induce riotous laughter. Ralph Fiennes assumes this unforgettable part with ease. Fiennes is one of today’s most revered and compelling thespians. Whether it be as the demented wizard Lord Voldemort in Harry Potter
It goes without saying that Warwick Davis and Peter Dinklage rule the realm of pint-sized performers, but a new face in Jordan Prentice has stepped forward with one of the most bizarre supporting roles of the year. He is delightfully amusing as Jimmy, though I’m not sure how the masses will respond to his prediction of a war between whites and blacks. Other commendable minor characters include Clemence Poesy as the seductive Chloe, and Eric Godon the curious weapons handler Yuri.
In Bruges sprouted from the mind of writer and director Martin McDonagh, who won an Oscar in 2006 for his phenomenal and gut wrenching short Six Shooter, also featuring Gleeson. Both efforts convey similar tones by intertwining slick violence and sharp screenwriting. His partiality of revealing picturesque European areas is also familiar. McDonagh’s priority was not just bloody shootouts, vulgar humor, and suspenseful foot chases. He takes an escalating and volatile situation and causes it to unfold effectively in an anomalous place. This is about hitmen, and a murder gone badly, but the manner in which McDonagh builds the story and heightens the tension is beautifully executed. The casual sequences where the audience admires the cobble stoned streets, yet still recognize how comically out of place Ray and Ken are highlight McDonagh’s ability to shape immersive substance.
In Bruges succeeds most in sustaining our concentration and maintaining the entertainment for the entire running time. That alone, for a February release, was certainly not anticipated or normal, but with characters as cool as these guys, how can you not find enjoyment In Bruges? Despite one or two missteps in the third and concluding portion of the film, the glorious, suitably open ending caps off the proceedings adeptly. What do a midget in a school boy outfit and an inventive use for a revolver with blanks have in common? Nothing in the narrative necessarily, but both are definite reasons why this uproarious excursion is worth the price of admission, and possibly a trip to Bruges if you have the money.
