Directed by:
Martin McDonaghScreenplay:
Martin McDonaghCinematography:
Eigil BryldComposer:
Carter BurwellCast:
Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Eric Godon, Jérémie Renier, Elizabeth Berrington, Željko Ivanek, Anna Madeley, Jordan Prentice (more)Plots(1)
Bruges (pronounced "broozh"), the most well-preserved medieval city in the whole of Belgium, is a welcoming destination for travellers from all over the world. But for hit man Ray (Colin Farrell) and Ken (Brendan Gleeson), it could be their final destination; a difficult job has resulted in the pair being ordered right before Christmas by their London boss Harry (Ralph Fiennes) to go and cool their heels in the storybook Flemish city for a couple of weeks. Very much out of place amidst the gothic architecture, canals, and cobbled streets, the two hit men fill their days living the lives of tourists. Ray, still haunted by the bloodshed in London, hates the place, while Ken, even as he keeps a fatherly eye on Ray's profanely funny exploits, finds his mind and soul being expanded by the beauty and serenity of the city. But the longer they stay waiting for Harry's call, the more surreal their experience becomes, as they find themselves in weird encounters with locals, tourists, violent medieval art, a dwarf American actor shooting a European art film, Dutch prostitutes, and a potential romance for Ray in the form of Chloe, who may have some dark secrets of her own. And when the call from Harry does finally come, Ken and Ray's vacation becomes a life-and-death struggle of darkly comic proportions and surprisingly emotional consequences. (Icon Home Entertainment)
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Reviews (14)
At first glance, I can’t avoid the idea that this film doesn't belong in the major leagues. However, upon longer reflection, I am coming closer and closer to the conclusion that the script is simply unique and there are not many better films in the comedy-drama category in our cinemas these days. Either way, the Brits have once again pulled it off and clearly prove that their dry humour far exceeds the impotent American entertainment of recent years. A thoroughly intimate, human, beautifully told and, above all, superbly acted story about a group of strange individuals whose strange mindset is put to the ultimate test in the form of the strangest city in the world. It may sound contrived, but Martin McDonagh has created a truly hard-to-describe film whose final half hour I would not hesitate to place high in the hall of fame of world cinema. Perhaps the creators could have done without the conversation after the jump from the tower:)) P.S. For the second time I raise the rating to full, this film is really powerful...
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For some heaven, for others hell, purgatory for all. An intimate existential gangster film about guilt, forgiveness and rectification, which evolves in a riveting way from a romantic tourist tour of Flemish beauties to a distorted Bosch canvas. Brendan Gleeson's heavy-duty fatherly performance, Colin Farrel's affectively childish creation, and the old-fashioned principle embodied by Ralph Fiennes – and the carefully constructed theatrical dialogues around them, a fantastically embodied image and an intense atmosphere that is closely related to the way filmmakers use Flemish Gothic. McDonagh shows off his dramatic talent (in places, it's more of a theatrical play in a riveting film version), but at the same time he doesn't hold back the magic of cinematic speech (brilliant work with narrative dynamics). As a result, modest In Bruges grows into a complex cinematic metaphor, the Bosch punchline of which is as beautiful as it is chilling. Names like Ritchie and Tarantino may be heard here, but that doesn't change the fact that McDonagh is unpretentious and thoughtfully his own. P.S. I don't know why, but somehow I've got a desire for this guy to make a Bond movie... perhaps with Colin.
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Over the past 12 months, this was my strongest cinematic experience alongside the animated movie Persepolis, and is all the more pleasant because it was practically unexpected. A great screenplay, interesting casting, excellent performances, and very well-written dialogues, not only for its genre, where several excellent quotes appear that have the chance to gain cult status. It is a film that clearly distinguishes itself from the genre mainstream while still being appealing to the audience. Black humor, several exciting duels, and unexpected twists. This film was much more attractive to me than the much more discussed American Gangster. I have practically no objections to it. Overall impression: 100%. The purely European atmosphere of an ancient city full of monuments, weary tourists, and small-town mentality also plays a role.
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In Bruges is a stylish, strongly un-American, irresistibly incorrect, ultra-cheeky gangster flick that amazingly straddles the line between tragic tears and boisterous laughter. No wonder Martin McDonagh is a theater director. His remote Belgian town is just a makeshift backdrop for a well-acted play featuring twisted nut-jobs portrayed by actors who relish their roles, which are not very typical for them. A must-see for the fans of Tarantino, Ritchie and my favorite, Sexy Beast. Were it not for the villain Don Logan, played by the genius Ben Kingsley, Ralph Fiennes would not have played his best character since Amon Goethe. In Bruges has the potential to gain well-deserved and lasting cult status.
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In his feature movie debut, McDonagh gives us exactly what a viewer well-versed in his shorts (or in his frequently staged plays) would expect. Just the restricted room of one train is replaced by the historical center of Bruges, plus a racist dwarf and the phenomenal Rúaidhrí Conroy is replaced by Colin Farrell. I would just like to know what the very numerous community of Vietnamese dwarves living in Canada would have said to this Irish rampaging in Belgium. They must be just as thrilled as our Prague Vietnamese community who were jubilant at the movie theater. And why not, indeed. Although there are no real negatives in this movie, his theatre plays seem to me to be just slightly better (especially “The Pillow Man", not to mention “The Lonesome West").
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