In Bruges

Brendan Gleeson and Colin Farrell enjoy the magic that is Bruges.

Brendan Gleeson and Colin Farrell enjoy the magic that is Bruges.

(2008) Crime Comedy (Focus) Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clamence Poesy, Jordan Prentice, Jeremie Renier, Elizabeth Berrington, Zeljko Ivanek, Mark Donovan, Anna Madeley, Jean-Marc Favorin, Rudy Blomme, Thekla Reuten, Inez Stinton, Ciaran Hinds, Theo Stevenson, Sachi Kimura, Eric Gordon, Stephanie Carey. Directed by Martin McDonagh

My wife is fond of saying that your sins will find you out. She used to say that to our son when she knew he was hiding something from us. With a mom’s unerring nose for a kid’s transgressions, she’d sniff out whatever it was that he was keeping from her. Sometimes, it’s a pity that our mums can’t be with us even as we get older to steer us right.

Ray (Farrell) and Ken (Gleeson) have been ordered to Bruges to cool their heels after botching a job. Of course their chosen profession is contract killing, so who would think of looking for them in a sleepy little tourist town like Bruges, the best-preserved medieval town in Belgium?

The skittish Ray could care less; he’s bored out of his skull and haunted by the results of his sanctioned but unintended mayhem. Ken on the other hand is a little more worldly; he is quite content to sit back, do some sightseeing and enjoy the magic that is Bruges. He knows that in time, his employer will call with instructions and the best thing to do is lay low and make as few waves as possible.

Ray, being Ray, is more interested in hanging out in the pub, finding himself a girl and getting his bones generally jumped. After getting more than a little tipsy one night, Ray and Ken run into a location set for a Dutch movie being filmed in Bruges, with a dream sequence starring Jimmy (Prentice), who prefers the term “dwarf” to “midget.” Ray also meets a beautiful local named Chloe (Poesy) whom he flirts with. She finally agrees to go out to dinner with him.

Meanwhile, their employer Harry (Fiennes) is getting more and more frustrated that he can’t contact his men since they are always out when he calls. He leaves a profanity-laced message with Marie (Berrington), the very pregnant receptionist who happens to be the co-owner of the boutique hotel the men are staying at. When Harry finally gets in contact with Ken, he gives the man instructions that the worldly killer may not want to follow, but at this point, Ken may not have a choice.

The top three leads – Gleeson, Farrell and Fiennes – are three tremendous talents who by themselves individually would entice me into the theater. All three together, well now you’re talking. Gleeson in particular has developed into a marvelous actor who gives a memorable performance nearly every time out. His trademark “gruff with a heart of gold” rough about the edges sorts translates well for Ken.

Farrell has that innate Irish charm that has served him well in both major high-profile projects and smaller independent-minded ones like this one. While Farrell has been somewhat less active in the cinema recently, this one shows him at the apex of his game. His Ray is young and less experienced, virtually jumping out of his skin and bored to tears, failing to see what’s right in front of him. Yet Ray is truly a tortured soul and his sins are just about to catch up with him, but the question becomes is it too late for redemption. Farrell’s soul-searching is particularly poignant and you virtually watch him crumble before your very eyes in one unforgettable scene.

Finally, Fiennes who has Schindler’s List and The Constant Gardener on his resume of award-winning performances doesn’t have a whole lot to do here but makes every scene he is in memorable. He’s one of those actors who makes every line count and uses every nuance in his arsenal to make his character remarkable.

Eigil Bryld’s cinematography is understated, effectively so. Bruges is already fairytale-like in appearance; he uses the town’s charm to his advantage. Carter Burwell’s score is, as always, well-suited to the atmosphere. Although early in his career he tended to be a bit too jazzy for my taste, he has become in my opinion one of the more reliable film composers working today.

Bruges itself is a character in the movie, and its charm is the movie’s charm. I wasn’t that familiar with the town before seeing this movie; now it’s a place I’d like to visit someday. I suppose that would characterize me as more of a Ken sort than a Ray, but history and architecture are two passions of mine. Movies like this one can make a particular place come alive and excite your imagination. Who knew that Bruges would end up on my bucket list?

The movie was sold as a black comedy and it really isn’t when it comes right down to it. This is more of a crime drama with a bit of farce but the tone is black nonetheless. In point of fact, I’m not sure if the writers and director were quite sure what this movie was intended to be, so it turns out to be neither one thing nor the other. My expectations going in from what I’d heard about it weren’t met so I came out disappointed when I saw it initially, but the truly odd thing is when I revisited it recently (I first saw it in theaters back in ’08) is that my opinion of it revised upwards to a near-mediocre score to the much more enthusiastic score you see below.

There is a great deal of charm in the movie and some wonderful performances in it. I think if you go in without the very high expectations I went in with you might wind up enjoying it more than I did. It is definitely worth seeing regardless, if not for Gleeson, Farrell and Fiennes but for the irresistible appeal of Bruges itself.

WHY RENT THIS: Tremendous, compelling performances from Farrell, Fiennes and Gleeson. Bruges might just enchant you. Dreamlike surreal quality in some scenes.
WHY RENT SOMETHING ELSE: Wobbles between crime caper and black comedy.
FAMILY MATTERS: There is some explicit violence, a surfeit of profanity and drug use.
TRIVIAL PURSUITS: Both Gleeson and Farrell were nominated for Golden Globes for their performances here; Farrell eventually won the award.
NOTABLE HOME VIDEO FEATURES: There is a gag reel, a montage of all the copious cursing done in the film called F***ing Bruges, and a five minute-plus boat trip through the canals of Bruges, further cementing the magic of the place.
BOX OFFICE PERFORMANCE: $33.4M on a $15M production budget.
SITES TO SEE: Netflix, Amazon, iTunes, Flixster, Vudu
NEXT: The Art of Getting By



The Defiant Ones, these ain't.

(2008) Crime Drama (Warner Brothers) Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, Toby Kebbell, Jeremy Piven, Chris “Ludacris” Bridges, Karel Roden, Gemma Arterton. Directed by Guy Ritchie

Few directors do crime movies as well as Guy Ritchie. Movies like Lock, Stock and Two Smoking Barrels and Snatch are highly entertaining, highly stylized British gangster pictures. He’d taken a brief break from the genre with the somewhat cerebral Revolver but fans of his first two movies rejoiced at his return to the genre in this movie. Was there reason to cheer?

One Two (Butler) is a mid-level criminal who leads a loose bunch of associates dubbed “The Wild Bunch,” with Mumbles (Elba) his right hand man and Handsome Bob (Hardy). He is in a real estate deal with Lenny (Wilkinson), the kingpin of London crime, an old school boss whose grip on the throne is slowly slipping away. Lenny screws over One Two, keeping both the land and the money that One Two gives him. To add insult to injury, he insists that One Two owes him two million pounds, which One Two doesn’t have – because Lenny stole his stash.

So One Two sets out to get two million pounds and figure out a way to get Lenny back while avoiding Archy (Strong), Lenny’s right hand muscle. That will involve a Russian mobster (Roden) who has lent Lenny his lucky painting, a sexy bookkeeper (Newton) in stilettos who’s smart and greedy, a dead junkie rock star (Kebbell) who is rather far from deceased, and a pair of American music promoters (Piven and Bridges).

I’ve tried to give you an idea about the plot; quite frankly, it’s so convoluted that trying to sum it up in any more detail will be not only futile but unnecessarily confusing. Therein lies one of the problems here; there are so many threads going on that at times your brain threatens to explode. While Ritchie is known for weaving multiple threads through his storyline, here it doesn’t work as well as it does in his other films. While I’m not against complex plots per se, I am against overly complicated plots. There’s a difference – and this one falls into the latter category.

That doesn’t mean all the threads don’t work though. There are some pretty good acting performances here, particularly from the always charming Butler, Elba and Strong, who does double duty as the narrator. Wilkinson is a terrific actor who makes Lenny thoroughly reprehensible. In fact, nearly every role is well-acted.

There are plenty of excellent action sequences as well. Ritchie has a flair for them and for that sudden violence that takes the audience by surprise (there are a few gotcha scenes here that I thoroughly enjoyed). He also has a flair for the language and the flow of the words – few movies sound as good as a Guy Ritchie movie in that regard, even if we Americans can’t understand everything that’s being said at all times. To my admittedly uneducated ear, it all sounds authentic.

There are also some positively funny moments here. Some of the laughs are of the kind you feel guilty about later for having laughed; those are the kind that takes you by surprise. Yeah, I know it’s wrong but I laughed anyway – is that so wrong?

No, it’s not. While this isn’t up to Ritchie’s previous output, it’s still solidly entertaining. If you haven’t seen his first two films, by all means start there. If you’re a Gerard Butler fan, by all means start here. Either way, Ritchie has carved a nice niche out for himself. While he has gone on to the Sherlock Holmes movies (with a new one coming out in December), these may be the kinds of movies that define his career as a filmmaker and if so, not a bad tombstone to leave behind.

WHY RENT THIS: Guy Ritchie doing what he does best. Funny and violent where it needs to be.

WHY RENT SOMETHING ELSE: Not up to his best stuff. Too many plot lines going on at once.

FAMILY VALUES: The language is rough and pervasive; there’s also a good deal of violence and drug use. There is a little bit of sex as well.

TRIVIAL PURSUIT: According to director Guy Ritchie, this is the first film in a trilogy starring the Wild Bunch. However, there are no plans at this time to film the sequel anytime soon.

NOTABLE DVD EXTRAS: There’s a featurette called “Guy’s Town” which looks at the locations in London where the movie was filmed and commentary from Ritchie about how the face of London has changed over the past ten years.

BOX OFFICE PERFORMANCE: $25.7M on an unreported production budget; the movie broke even at best but more likely lost money.


TOMORROW: True Grit (2010)