Martin McDonagh is one the most brilliant up-and-coming writer/directors in recent time. Watching In Bruges this past weekend, I was reminded of my first thoughts of Richard Kelly following my initial viewing of Donnie Darko back in 2001. That said, I can only hope that McDonagh's follow-up to In Bruges is much more conherent and accessible than Kelly's dismal Southland Tales. Having not seen McDonagh's 2005 Oscar-nominated short, Six Shooter, I am without a basis by which to compare his only works to date, preventing me from concluding whether In Bruges was the next logical step for an aspiring new talent or just a lucky hit for an otherwise would-be hack. I am however inclined to believe that a film as well-crafted as In Bruges involved anything remotely resembling luck, and here's why: it's too far removed from commercial hit standards to have hoped for a lucky break of the blockbuster variety. Instead, this film seems more well-suited (if not intentially geared) toward an underground cult hit with overwhelming critical appeal. And to that end, it is a masterpiece through and through.
From the moment we enter Bruges as an audience, the characters of Ray (Colin Farrell) and Ken (Brendan Gleeson) begin to unravel in a way that is both telling of their pasts and foreshadowing of their futures at the same time. This is not one of those stories where you are given all of the backstory upfront and then just sit back to watch the players cat-and-mouse their way to the ultimate conclusion; this film is way too smart for that sort of story. Instead, what In Bruges does (and does well) is give you a little piece of backstory at a time, sometimes as a cast-off line of dialogue, sometimes as a full-fledged flashback, but always right where you need it most. New characters are introduced and included from that point on. There's none of this Derailed-type detour, where we introduce Jennifer Aniston as a major player, then throw her aside for a good hour of screen time, only to have her resurface in the final act as we uncover the mystery of who done it. Every character in In Bruges plays their part, and there are no small parts, unless you consider dwarves to be small parts. The story twists and turns and winds back around again in a way that is fresh and intelligent, almost blindsiding at times. That's not to say that you won't see where it's going before it gets there, but even if you do, you'll still be satisfied with how smart it is. Attention to detail is everything in falling in love with this film.
Okay, so by now, I may have sold you on In Bruges as a smart art-house flick, but I'd be short-siding this film, if I didn't point out its bitingly satirical dialogue. Aside from being Colin Farrell's best acting to date, this is his most likable role. His delivery ranges from triumphant to tragic with such emotional honesty that, despite the fact that he's a hitman, it's nearly impossible to not root for him. Dirty dialogue hasn't been this enjoyable since Pulp Fiction or Bad Santa. If you don't mind deciphering Irish dialects, a good deal of realistic violence, or laughing at American stereotypes, you just might have found your new favorite film. A must see!
High point: Colin Farrell egging-on a family of fat Americans who don't get the joke.
Low point: Would have liked a bit more time with Ralph Fiennes.
From the moment we enter Bruges as an audience, the characters of Ray (Colin Farrell) and Ken (Brendan Gleeson) begin to unravel in a way that is both telling of their pasts and foreshadowing of their futures at the same time. This is not one of those stories where you are given all of the backstory upfront and then just sit back to watch the players cat-and-mouse their way to the ultimate conclusion; this film is way too smart for that sort of story. Instead, what In Bruges does (and does well) is give you a little piece of backstory at a time, sometimes as a cast-off line of dialogue, sometimes as a full-fledged flashback, but always right where you need it most. New characters are introduced and included from that point on. There's none of this Derailed-type detour, where we introduce Jennifer Aniston as a major player, then throw her aside for a good hour of screen time, only to have her resurface in the final act as we uncover the mystery of who done it. Every character in In Bruges plays their part, and there are no small parts, unless you consider dwarves to be small parts. The story twists and turns and winds back around again in a way that is fresh and intelligent, almost blindsiding at times. That's not to say that you won't see where it's going before it gets there, but even if you do, you'll still be satisfied with how smart it is. Attention to detail is everything in falling in love with this film.
Okay, so by now, I may have sold you on In Bruges as a smart art-house flick, but I'd be short-siding this film, if I didn't point out its bitingly satirical dialogue. Aside from being Colin Farrell's best acting to date, this is his most likable role. His delivery ranges from triumphant to tragic with such emotional honesty that, despite the fact that he's a hitman, it's nearly impossible to not root for him. Dirty dialogue hasn't been this enjoyable since Pulp Fiction or Bad Santa. If you don't mind deciphering Irish dialects, a good deal of realistic violence, or laughing at American stereotypes, you just might have found your new favorite film. A must see!
High point: Colin Farrell egging-on a family of fat Americans who don't get the joke.
Low point: Would have liked a bit more time with Ralph Fiennes.
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