In Bruges

In Bruges– 2008

If The Dark Knight is the film with the biggest most grandiose hype surrounding it this year, then In Bruges would be the biggest sneaky surprise. Not only is the writing as snappy and perfectly honed as any other film, big or small, this year but boasts career high performances from the entirety of its cast. Dark comedies are hard to master, and this is certainly the most worthwhile I have seen since Lethal Weapon creator Shane Black’s Kiss Kiss Bang Bang; especially with far lesser attempts such as War Inc. fouling up the pond.

Bruges, the capital of West Flanders in Belgium (pronounced ‘Broo-jiz’) serves as the quirky setting for second time director Martin McDonagh, and the cinematography and art direction immerses the viewer into this abstract setting. In Bruges evokes a somewhat dreamlike carriage which is efficiently echoed by journey of the characters. This beguiling fable follows two hit men, the distraught and emotionally fragile Ray (Colin Farrell) and the gentle fatherly Ken (Brendan Gleeson) sent by their irritable and emotionally erratic employer Harry (Ralph Fiennes) to Bruges to fulfill a hit. Complicating the situation is Ray’s unstable mental state, which was shaken on an earlier job when a young boy was caught in the crossfire, and which has left quite suicidal. The surreal surroundings of Bruges leave Ray wanting, but thrills Ken with its gothic storybook refinement. Things become even more phantasmal during the meeting of a movie star dwarf, played by Jordan Prentice and with the development of an unlikely relationship between Ray and a local girl, Chloe (Clémence Poséy). These circumstances sway the line between a dreamworld and the bleak reality of the duos proffesions, but never to the extent where the film could be considered a physiological bind-bender by any means.

Colin Farrell has always been a solid actor, but needs to rethink his agent, as his roles carry from routine action flicks which leave him emotionally grounded, to art house flops that become far to precious and quirky for their own good. Farrell gives the performance of his career, flawlessly blurring the line between a coy smart-aleck and tragic silhouette. Gleeson is equally sensational, again showing, like never before, his acting chops. I cannot say that Ralph Fiennes gives his best here, as that distinction belongs with his astounding portrayal of Amon Goeth in Schindler’s List but it is certainly his most accomplished since then. Poséy is delightful and complex for her small role, and Prentice proves that an actor of his stature does not have to be typecast in meaningless roles.

As amazing as the ensemble cast is, kudos is justly due to McDonough, whose writing chops provide the drole and solid foundation for the performances. This effort is simultaneously hilarious, tragic and mystical; and the three blend seamlessly. Unlike other films cut from the same cloth, In Bruges never lets its quirkiness take the story, setting and characters hostage. It is involving and endearing, with countless meaningful undercurrents, and as a whole this film demands repeat viewings; an order I am highly pleased to fill. There is also some gunplay and bloodshed for those who find themselves hard-pressed to sit through a film completely devoid of a scuffle or two. Really, In Bruges takes a bit of everything, and perhaps that is best suited to the continually surreal surroundings that we find the two immersed in, and although risking a lot with such a direction, it never seems scattershot or incoherent. And after this infinitely satisfying adventure, in Bruges was the only place I wanted to be.