Greetings and In Bruges Review

Ahh...The inaugural review. A first tree falling in the forest that no one will hear...In case you hadn't surmised from this blog's header I am a film lover attempting to share my love of the art form. Every viewer's experience of a film is valid and my main intent with this blog is to provoke thought, conversation, and debate on a wide range of films from various time-periods. I look forward to hearing fresh perspectives, and I intend to respond quickly to feedback. I am also completely open to revising reviews based on new perspectives gleaned from debates with readers. My hope is to create a more collaborative, interactive version of the stagnant reviewer-reader relationship. But that's just a load of pleasant-sounding horseshit unless you meet me halfway. Without further ado:

review by: Neil Anderson

3.5/4

             A tone of dark comedy is incredibly difficult to successfully realize on film, or any medium for that matter. Typically involving a nearly alchemical combination of atmosphere, realistic, nuanced characterizations, and ironic (often macabre, or bizarre) dialogue and situations, unsuccessful iterations can end up in the realm of self-parody, or sickening gratuity. That being said In Bruges walks this veritable tight rope with the grace of an English gentlemen (or perhaps a hit-man masquerading as one).

            This comedy/thriller follows the exploits of two criminals Ray (Colin Farrell) and Ken (Brendan Gleeson) fresh off a job gone wrong as they hide out in Bruges, Belgium awaiting “the bosses” call. Ray is a young, hot-headed philistine who can’t wait to leave Bruges and return to London. Ken is an aged veteran of the business who at this point in his life seems interested in enjoying the finer things(as much as any career criminal has the ability to). The juxtaposition of hardened criminals and a town of sleepy Medieval tourist attractions creates an interesting fish-out-of-water element that the helps drive the story. In fact, the town of Bruges becomes a character itself as Ray and Ken circle it’s landmarks throughout the story, returning to previously visited places at critical moments. In addition, the choice of Bruge as the story’s primary location, creates a sense of small-town claustrophobia which adds focus to the proceedings.

            The film benefits from the odd-couple relationship between the two main characters, and their respective views on Belgian culture and culture in general create a quite funny, but wisely underplayed comedic rhythm. The keenly observed nuances, and non-sequiturs in the film’s dialogue generate some of the film’s funniest moments as subtle behaviors and affectations are placed under a magnifying glass with great comic effect. One would expect writing of this caliber from respected Irish playwright Martin Mcdonagh(his play the Pillowman contains hints of this film’s idiosyncratic nature), but unlike some films written and directed by playwrights this feature doesn't suffer from an overly "stagey" feel. There are some well-placed visual flourishes throughout, especially during the closing sequence. The action sequences are deftly handled giving the film a sense of reality that allows the both the comedy and drama to have more impact.

            The acting is excellent, with Collin Farrell really showing his range of abilities in a role that requires complete dedication to both the dramatic and comedic moments. It probably helps too that he’s speaking in his natural Irish dialect giving him a greater ability to focus on his performance, although with dialogue this sharp it would take a concerted effort on his part to derail the project. The dependably superb Brendan Gleeson lives up to his reputation here, providing a lifeline of empathy throughout a sometimes grim cast of characters. His resolute but human expressions and weighted, burdened performance assist in spurring this film to greater heights, and also greater accessibility. 
            
            However, Ralph Fiennes in a turn as the short-tempered crime boss definitely steals the show with his appearance. He attacks lines of vicious dialogue with a frenetic glee that is a force to behold. American audiences might be surprised he has more to offer the world than his roles in Schindler’s List and Harry Potter. I won’t spoil the details of his arc, but suffice it to say that I guess there is honor amongst thieves.  The roles of the supporting characters are also well-acted if perhaps slightly underdeveloped(although we get a stark insight into dwarf racial relations). The women, while definitely not given a significant chunk of screen time, each have more than one dimension to their respective characters, and that’s something of an achievement in a film with so much testosterone running through it.

            The plot isn't the most complex thing out there, nor does it try to be, but it never loses it’s way in this menagerie of slightly odd characters; and it has more than enough twists and turns to keep the viewer engaged in the main players and their plight. The trailer completely misrepresents this film as a rather generic 90's style action thriller, a marketing decision I’m sure, made in an attempt to reach that untapped goldmine of a market: teenage boys. Those looking for something along those lines might not be disappointed, as there are enough thriller/action elements in it to keep them distracted; but this film has much more going for it than that if open up to it, and let yourself fall into it’s loping, absurdist rhythm.