"Shoot first. Sightsee later."

I wanted to see this in the theater, but it was in and out in a weekend where we live... and after watching it, I can see why. There is nothing polite or PC about this movie, but it is hilarious and dark and human and sad... and I loved it. 

In Bruges is about two hitmen, Ray [Colin Farrell] and Ken [Brendan Gleeson] who are told to lay low in Bruges [thats in Belgium...] after a job gone bad. Ken loves the history and culture, Ray thinks otherwise and the two are like an old married couple as they wait around for their boss, Harry [Ralph Fiennes] to call and tell them what their next move is. While there they meet some interesting characters with even more interesting world views when they're all coked up. 

I'm sitting here as my husband is going through all the scene selections and replaying the funniest ones... all of which are very NOT PC and it's REFRESHING for a change. At first I was uncomfortable, but then I realized it wasn't me saying those things and nobody is here to see me laughing at it except my husband, who is also laughing at it... so when in Bruges...  ?  ;)  When did we all get so dang sensitive, anyway? [a topic not for a movie review I suppose... lol].

Most surprising about this movie is how connected you become to the characters despite who they are and what they do. They aren't necessarily 'bad', but they are most definitely human, as we all are... there are plenty of moments in this movie that aren't funny, but are sometimes depressing, sometimes graphic... But overall, it's a great story with great acting and a great supporting cast including Peter Dinklige as the salty, jaded 'dwarf' actor and Clémence Poésy who plays the most beautiful girl Ray has ever seen... who also has a few secrets of her own that are revealed during her and Ray's first and only date. It's probably the best first date scene I've even seen, and that's all I'll say.  =)

If you like movies like The Station Agent, Layer Cake or if you're a Colin Farrell fan, you'll probably dig this one. 4 out of 5. 

Add'l Info: Released: Feb 8, 2008 • Runtime: 107 minutes • Rated R for strong bloody violence, pervasive language and some drug use

The debut film from Irish playwright Martin McDonagh was mis-marketed in this country as a wacky farce about two hitmen (Colin Farrell and Brenden Gleeson) hiding out in Bruges, a picturesque town in Belgium. While the movie is often hilariously funny throughout, it's also a serious minded meditation on guilt and the possibilities, or lack thereof, for redemption for the choices we make that unexpectedly yield seemingly unforgivable results. The movie is highlighted by excellent acting by the leads, with Farrell once again proving what a versatile actor he is playing Ray, an impulsive, child-like man wracked by guilt, and Gleeson being simply masterful as Farrell's mentor Ken; Gleeson is able to communicate so much with simple gestures and subtle changes in his voice. Ralph Fiennes is also good as their boss, Harry, and Thekla Reuten, Clémence Poésy and Jordan Prentice are also memorable in supporting roles. "It's a fairytale town, isn't it?," Harry says to Ken, talking about Bruges, and the Belgium town, which McDonagh has lovingly shot, is used to great effect, by turns stunningly beautiful, then eerie and threatening, like the Hieronymus Bosch painting Ray and Ken come across early in the movie. In Bruges will not be to all viewer's tastes, as it's profane and given to explosions of shocking violence, but for those viewers who can look past those surface things, they will find an intelligent, provocative and often profoundly moving work of art, and one of the best movies so far this year.

MONKEY RATING: ZERO MONKEYS

(For a brief explanation of the Monkey Review rating system, click here.)

1. Be Kind Rewind (Dir. Michel Gondry)

Why Did You Pick That?

I love Gondry's films and the preview for the film was awesome.

2. The Station Agent (Dir. Thomas McCarthy)

Why Did You Pick That?

I've heard about this one for years. I actually picked it up at the library once, but the disc was unplayable. I recently heard about next film, The Visitor, so my interest was piqued again.

3. In Bruges (Dir. Martin McDonagh)

Why Did You Pick That?

Rave reviews from many different sources. It just sounds like something I don't want to miss.

In Bruges es la segunda película del director inglés y ganador del Oscar Martin McDonagh, y el primer drama criminal que me saca carcajadas y varias risas. Resulta que In Bruges (traducido a "Escondidos en Brujas" en España y simplemente a "En Brujas" en Chile) es más que un thriller de humor negro, es un drama puro y simple (a ratos bastante crudo), pero asume el humor que nos presenta como algo cotidiano en nuestra vida y ahí radica el punto de equilibrio necesario para transformarse en una historia creíble y muy entretenida, que nos lleva a conocer el submundo delictivo inglés a través de la brutalidad de sus crímenes y de su cínico y moralista código de honor.

Ray (Colin Farrell) y Ken (Brendan Gleeson) son dos asesinos ingleses que, tras un "trabajo" mal hecho en Londres, deben escapar y esconderse en Brujas, Bélgica, a la espera de las nuevas órdenes de su jefe Harry Waters (Ralph Fiennes). La estadía en la mágica ciudad medieval flamenca profundiza la depresión de Ray, que no deja de pensar en su último trabajo y en las consecuencias del mismo, mientras que Ken consigue relajarse y disfruta del entorno rico en historia y cultura. A medida que los días pasan, la estadía en Brujas se hace insoportable para Ray, quien se mete en problemas luego de involucrarse con Chloë (Clémence Poésy) una bella asistente de un equipo de producción holandés, mientras que Ken recibe con estupor las nuevas órdenes de su jefe. Ambas situaciones llevarán a la pareja de delincuentes a vivir una extraña aventura en una de las ciudades más mágicas de Europa, en la que el surrealismo y el absurdo serán los condimentos adicionales de la historia.

Martin McDonagh es el guionista y director de esta brillante película, que cuenta no sólo con una historia entretenida, sino que además con un excelente reparto, notables actuaciones y muy buenos diálogos, carentes de lo "políticamente correcto". La cinta nos sumerge en la vida de dos criminales ingleses que debido a un error cometido, deben escapar a Brujas y esperar ahí sus nuevas órdenes. Durante su estadía, McDonagh nos hace ver y comprender las motivaciones de cada uno de ellos, asímismo como se logran complementar dos personajes diametralmente opuestos, Ken (Gleeson) censato, prudente y optimista y Ray (Farrell) bebedor, impaciente y depresivo. Con el paso de los minutos nos vamos enterando del trabajo anterior de los criminales, del endemoniado carácter de su psicópata jefe, interepretado magistralmente por un maduro Fiennes, y del extraño entorno que rodea a ambos personajes, casi sacado de un extraño cuento medieval (enano incluído). Colin Farrell se anota otro golazo con su actuación, la cual se suma a la vista en Cassandra's Dream (cuya crítica pueden leer AQUÍ), ya que logra conmover en los momentos más dramáticos y divertir en las escenas de humor, añadiéndole grandes dosis de ironía. Brendan Gleeson es un maestro y logra transmitir la cercanía y amistad que siente por el personaje de Farrell de manera muy natural. Ralph Fiennes da miedo ya que su interpretación como el líder psicópata de una banda de criminales es buenísima y su extricto código moral sólo logra profundizar más su imagen de psicópata. Los personajes secundarios aportan muchísimo a la cinta, en especial Jordan Prentice como el graciosisimo y malas pulgas enano inglés y la exquisita Clémence Poésy en el rol de la seductora mina de Ray. Sin lugar a dudas In Bruges es una película excelente, sin puntos flacos y con un final digno de toda gran obra. Vale la pena verla.

TRAILER: IN BRUGES

FICHA TÉCNICA
Nombre: In Bruges (Titulado "En Brujas" en Chile y "Escondidos en Brujas" en España)
Año: 2008
Duración: 107 minutos
Dirigida y escrita por: Martin McDonagh
Protagonizada por: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Jordan Prentice, Clémence Poésy y Eric Godon
Producida por: Blueprint Pictures, Film4, Focus Features, Scion Films

Regia: Martin McDonagh

Produzione: Gran Bretagna, Belgio, 2008

Trailer italiano a parte, “In Bruges, la coscienza dell’assassino” di Martin McDonagh è una tra le pellicole recenti che rischia di essere oltremodo sottovalutata a causa di una cattiva visibilità e di una mediocre distribuzione. Non si tratta del classico live action all’americana, ma piuttosto lo definirei un drama-comedy d’azione che si sofferma, senza noiosi melodrammi, a riflettere della vita e sul suo valore.

Uscita in sala il 16 maggio il film racconta la storia dei due killer Ken e Ray, il veterano e il giovane alle prime armi, costretti a nascondersi nell’omonima cittadina fiamminga in attesa di istruzioni dal “boss”. Una coppia improbabile gironzola dunque tra i monumenti della città in cerca di un po’ di svago culturale ma con l’intenzione di passare inosservati. Grazie all’aggancio di qualche battuta bonaria, emergono gli stati d’animo di Ken, vecchio ma comprensivo, e Ray, inesperto e disperato a causa di un tragico errore che gli è costato appunto la “coscienza”. Dopo un’attesa degna di “Aspettando Godot” giunge finalmente la telefonata di Harry (Ralph Fiennes), il boss spietato dagli occhi vitrei. Ecco che le prospettive cambiano di colpo e per i due protagonisti la vacanza si trasforma in un teatro degli orrori che li costringerà a mettere a dura prova le loro scelte di vita.

Dialoghi rapidi si alternano a momenti di malinconica lentezza. Ma il ritmo della narrazione rimane sempre alto per tutta la durata del film. L’ambientazione è quella di una tranquilla cittadina risparmiata dalla cronaca nera la cui neutralità rende la storia ancora più torbida. Gli attori invece sono di quelli che lasciano il segno: Colin Farrell nei panni di Ray ha un’espressività impareggiabile. Sa rendersi comico, tenero e spietato nello stesso momento. Brendan Gleeson (Ken), dal grande cuore irlandese, è un perfetto uomo di teatro. Il terzetto maschile si chiude con la presenza del glaciale Ralph Fiennes, bravissimo a regalare istanti di pura cattiveria e integerrimo nel suo mestiere di killer. Musiche angoscianti accompagnano la regia di Martin McDonagh, il cui lavoro è semplice e schietto. Ottime le scene d’azione, quasi da cardiopalma. La mdp pedina i personaggi e spesso ruota loro intorno. Da segnalare la scena nella piazza centrale di Bruges in cui la mdp gira in tondo “guardando” la coppia Ray-Chloe. E il regista Martin McDonagh non dimentica di omaggiare a suo modo il cinema: nella storia si gira un film nel film con un corredo di personaggi “freaks” che ricordano tanto quelli immortalati da Diane Arbus.

A tutto questo fa da cornice un’elegante città d’arte, un borgo forse un po’ dimenticato, senza sole ma con tanti sorrisi. Un gioiello nel cuore dell’Europa dove le persone non sono facilmente corruttibili, dove i figli, nonostante tutto, rimangono ancora un bene da salvaguardare. Una pellicola molto poco d’Oltreoceano e tanto piacevolmente europea.

Teneramente scritto da: “chiarOscura”

And then deadra and me went completely crazy and watched an Uwe Boll double feature - BloodRayne and In the Name of the King: A Dungeon Siege Tale.

But first things first: we started off with The Happening. If you are a regular reader, you might wonder why I went to see it, as I have done nothing but bitching about M. Night Shyamalan. But don't worry, I will continue to do just that.
The Happening aka Shyamalan's An Incovenient Truth [(c) Deadra] sucked big time. And keep in mind that this is the same post where I write about Uwe Boll movies and I'm afraid that The Happening is the worst of the movies I write about today...
I watched it with the faint hope that it would be entertaining and that I could spend the whole movie making fun of it. Instead I spent it mostly being bored, with a few exceptions [For example when Mark Wahlberg talks to the plant].
The plus side: Shyamalan didn't try to be especially creative with obvious plot twists. And he didn't go for the word play [SPOILER!] plant - nuclear power plant [SPOILER END!]. Shyamalan had only a voice role, not a real cameo.
The minus side: The plot. Zooey Deschanel couldn't act if her life depended on it. Even amidst a completely bad cast, she stuck out. [SPOILER!] Shyamalan managed to kill off the only actor who would have actually been worth watching - John Leguizamo [SPOILER END!].

Well, money badly spent... nothing worse should happen. Like having to watch this movie again.

In Bruges, on the other hand, was great. I really don't know why it wasn't marketed more. Here we have the perfect combination of (British) black humour [There's only two things, Belgium is famous for: pedophilia and chocolate. And they only got the chocolate to get to the kids.], a good cast (Colin Farrell, Brendan Gleeson and Ralph Fiennes) and a cool story, topped off with a bit of splatter, all in front of the beautiful scenery Bruges has to offer. Very well done, Martin McDonagh!
If you haven't seen it, go and do. It's worth it.

Now, we come to Uwe Boll.
BloodRayne was disappointing. I thought, again, I could laugh my ass off while watching, but unfortunately, it left me only wondering. And bored.
It was a gruesome mixture of genres, not really a vampire movie, not really a splatter movie [although the blood fountains sure were great...], not really a horror movie, but a little bit of all of that.
Michael "Sexy Voice" Madsen acted even less than he usually does. Ben Kingsley seemed so bored (and I'm sure he was) that when he held the traditional motivational speech before the great battle, it sounded like he recited the phone book. For the second time in two hours.
And as much as I hate to admit it, I didn't get the ending. I didn't get the ending of an Uwe Boll movie. How pathetic. But what was up with that best of all scenes? What was that supposed to mean?

Finally, finally, In the Name of the King: A Dungeon Siege Tale delivered what I had hoped for the whole weekend: Unintentional hilarity. Starting with the LotR rip off world, over the story and the dialogues and ending with the imdb forums, it was great. The first hour or so was a bit boring, but then it was packed with quotes that had me on the floor.

King Konreid: Bring in the ninjas!

Gallian: In my kingdom, there will be no word for madness. It will simply be called power.

And then, of course, the world's best pick up line: The cross-eyed Legolas character gets caught by the bad guys and thrown into a dungeon. He turns to the prisoner next to him, coincidentally a girl, and says: "So, where are you from?"
Actually, this line was one of three final choices, the other two being "How you doin'?" and "What does a girl like you do in a place like this?"

Wonderful.

(Martin McDonagh - 2008 UK e Belgio)

A dir la verità mi aspettavo un film sboccato alla Lock And Stock o The Snatch, pieno di violenza, humor nero e personaggi improbabili. Non mi ci sono allontanato di molto, però non prevedevo la dolcezza di Bruges - la Venezia del Belgio - e il dramma di Colin Farrell (ultimamente sembra scegliere ruoli sofferti sull'orlo del suicidio, vedi Cassandra's Dream)... Due sicari vengono esiliati dal loro "padrino" a Bruges dopo un'esecuzione finita male (Farrell colpisce e uccide un bambino) in attesa di nuovi ordini: l'uno, in ansia e coi sensi di colpa, non fa che insultare Bruges, l'altro, un po' padre buono, rimane incantato dalla città. Il fine del viaggio si rivela essere l'assasinio di Farrell da parte di Gleeson che però si rifiuta e scatena l'ira del capo Fiennes. La trama è molto semplice dunque, ma costellata di pause da cartolina del Belgio, stacchetti comico-demenziali, momenti di profondo cordoglio e un pizzico di romanticismo (vedi la bella Clémence Poésy). Questo mix non è affatto male, le pecche stanno nella lunghezza e nell'improbabilità di alcune situazioni. Interessante anche la colonna sonora.

Trailer

aah my sixmonthly trip to the cinema/pictures/movies. 

where pigfuck morons congregate like pasty flies round expensive shite to see the latest ashton kutcher vehicle or lucas and spielberg defecating, urinating, ejaculating and whatever the 'ating' for vomit is over my fucking childhood or the latest girlysoftporngussetmoistener featuring some dead guy who leaves letters to his late wife or fucks a ghost or falls in love with a closet daterapist who turns out to be an alright guy just misunderstood in that way that women love cause they think they can change him or in this case sex and (in?) the city or three hookers and their mom as i probably wrongly remember from the family guy episode where someone says 'this is worse than the time peter.....' all the while cramming tepid greasy mysterymeat and gallons of wet brownsugar down their slack gobs guffawing as the dead guy gets hit in the balls or the slimy guy fucks a pie and chortling mightily at those really funny orange adverts starring that dude whose not american and a bunch of b-list celebs squeezing out the last of their artistic credibility through slacklypuckered sphincters (yes you rob lowe) at the sweaty groin of the MAN to sell mobile phones to idiots who have two already....

.... yeah so in bruges. 

stuck at the top of the cineworld mountain of doom, locked like an embarassed brain-damaged cousin in a closet/cupboard away from the good folks lapping at the trough overspewing with not-even-good-enough-to-be-mediocre mediocrity like so many badly tattooed football tracksuit wearing gashmonkeys.  stuck in a forty seater room at nosebleed level with no fucking snackstand and a rusty bucket for a toilet.  yes we brave and hardy few who had resisted the jowly monstrosity of a ninety five year old harrison ford or the mole-y horror of a ninety five year old sarah jessica parker travelled to the peak of mordor to watch a wee-budgeted debut flick from an irish playwright starring everyones favourite wisecracking irish, colin farrell, and the always dependable brendan gleeson (not related to smokie and the bandits jackie gleason) as they descend into some almost-metaphorical hell.

it's not a goddam caper or a wacky buddy movie.  despite what the trailers might infer.

coming on like a medieval tortureporn laurel and hardy as hitmen, all coked up, with nic roeg filming an irish scorsese heironymous bosch vision except with father dougal mcguire beating canadians, karate chopping dwarves/midgets and shooting kids in the head.  it's a bit like grosse point blank without the light humour.  it's a bit like henry portrait of a serial killer with slapstick.  it's a bit new david mamet with less pseudointellectual bludgeoning.  it features more cunts than a we live together production and a variety of midget/dwarf jokes.  the dialogue as expected is beautiful and musical and rhythmic with all the funny menace of harold pinter.  or joe pesci.  and for all it's wanton grotesquery and blackblackblack humour there is a proper subtext and everything.  something about morality.  about paths chosen and lives led.  about the spectacle of violence.  about a journey to purgatory, leading to hell and/or the possibility of redemption. 

acchh maybe it's just a warning to watch out when shooting kidraping priests incase you accidently shoot a kid in the head.  cause it all leads to bruges you know.

whatever.  it's worth six of your shiny round coins and two hours of your pointless lives.  and shia labeouf (a name which suggests to me followers of the beef?) is nowhere to be seen. 

praise jeebus.

assassins by lightning bolt

Northlight  Theatre 2008/09 Season

Doctor Jekyll & Mr. Hyde

Adapted by Jeffrey Hatcher

Based on the novella by Robert Louis Stevenson

Directed by Jessica Thebus

What happened the night that Henry Jekyll died? Against the backdrop of Victorian London, the respected doctor has begun to display alarmingly erratic behavior toward his friends.  At the wsame time, a mysterious figure haunts the city’s streets under the cloak of the London fog.  This fiendishly clever and theatrically innovative new adaptation of Robert Louis Stevenson’s classic tale is a smart, psychological thriller that delights in revealing the many faces of Edward Hyde.

September 17 – October 26, 2008

Grey Gardens

Book by Doug Wright, music by Scott Frankel, lyrics by Michael Korie

Directed by BJ Jones

Musical direction by Doug Peck

Rub elbows with Edith Bouvier Beale and her daughter “Little Edie,” – Jacqueline Kennedy Onassis’ most scandalous relatives!  Once the highest of high society, the two have become East Hampton’s most notorious recluses, living in a dilapidated 28-room mansion with 51 cats for company.  Set in two eras – 1941 when the celebrated estate was the picture of wealth and sophistication, and 1973 after it had been reduced to squalor – Grey Gardens is a brilliant and heartbreaking look at two indomitable women.

November 12 – December 21, 2008

Po Boy Tango

By Kenneth Lin

Translated by Martin Crimp

Directed by Chay Yew

A celebration of the human spirit and the joy of cooking, Po Boy Tango tells the story of Richie Po, a Chinese immigrant who turns to his estranged friend Gloria to help him recreate his mother’s “Great Banquet.”  Despite the challenges of shark fin soup, duck po boy sandwiches and underlying cultural tensions, Richie and Gloria find common ground through their shared humor and the blending of traditional Taiwanese cuisine and African American “Soul Food.”  Helped by lessons from Po Moma’s television cooking show, the two discover a deeper understanding of food, culture and the nature of friendship.

January 7  –  February 15, 2009

Mauritius

By Theresa Rebeck

Directed by Dexter Bullard

The stakes are high when half-sisters inherit a book of rare stamps that may include the “crown jewel” of the stamp-collection world.  The battle for possession takes a dangerous turn when three rival collectors enter the sisters’ world, willing to go to any lengths to stake their claim on the find.  Combining the best aspects of Hitchcock, Chandler and Mamet, “Mauritius” is a gripping blend of sharp comedy and heart-pounding drama that simmers with constant surprise.

February 25 – April 5, 2009

The Lieutenant of Inishmore

By Martin McDonagh

Directed by BJ Jones

“Wee Thomas” the cat has been killed.  What’s worse, he was the beloved pet of Padraic – a ruthless Irish hitman who considers the IRA “too soft.”  As the folks back home fight over who has to break the bad news, the violence escalates – recalling Shakespeare and Quentin Tarantino at their bloody best.  A few murders, several dismemberments and a smattering of cow mutilations later, all is finally right with the world again.  Or is it?  In this wickedly funny black comedy from the author of “The Cripple of Inishmaan”, “A Skull in Connemara” and the recent film “In Bruges”, McDonagh considers the implications of outrageous reactions to small misunderstandings.

April 29  –  June 7, 2009

For more information, call 847-673-6300, or go to www.northlight.org

In Bruges

Regia: Martin McDonagh

Cast: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Jérémie Renier, Thekla Reuten, Clémence Poésy, Jordan Prentice, Elizabeth Berrington

Distribuzione: Mikado, GB Belgio 2008

Guarda il trailer

 Ray (Colin Farrell) e Ken (Brendan Gleeson) sono due killer irlandesi costretti a una sosta forzata a Bruges a causa di un omicidio non andato come previsto. Dalla città belga i due attendono notizie dal loro capo, Harry (Ralph Fiennes). Tuttavia, quello che sembrava un soggiorno tranquillo da finti turisti si trasformerà presto in qualcosa di molto complicato e pericoloso....

Pellicola divertente e al contempo avvincente, permeata da una grandissima ironia che ricorda i fratelli Cohen.

I due killer costretti a questo soggiorno forzato non potrebbero essere più diversi: Ken è educato, pacato, ama Bruges ed è interessato alla sua storia, all'arte, ai monumenti; Ray è rude, odia Bruges ed è sfrontato e sempre in cerca di guai. Harry, il loro capo, è un personaggio eccentrico e bizzarro dalla parolaccia facile. Ovvio che da queste premesse non può che nascere un film interessante e dissacrante.

E' un susseguirsi di dialoghi esilaranti, scazzottate, incontri con personaggi ai limiti dell'assurdo, situazioni quasi surreali, il tutto inserito in una location da favola, come viene più volta definita nel film.

Giustissima la scelta dei protagonisti, ai quali il ruolo sembra cucito addosso: Il colto e gentile Ken, interpretato da Brendan Gleeson, la faccia da schiaffi di Colin Farrell a interpretare il ribelle e maldestro Ray e infine il bravissimo Ralph Fiennes nei panni di Harry, uomo spietato ed eccentrico, ma con una sua etica...

In breve: una vera perla firmata dal regista e sceneggiatore Martin McDonagh, premio Oscar nel 2006 con il cortometraggio "Six Shooter" (nel quale recitava anche lo stesso Brendan Gleeson).

Conclusione: Consigliatissimo.

Voto: 8

Cosa aspettarsi da uno sceneggiatore che esordisce alla regia? Una storia non banale e tanti bei dialoghi. L'irlandese Martin McDonagh ci riesce con questa strana pellicola che è In Bruges. Fin dalle prime battute è tutto uno spiazzamento: bizzarra la location, la cittadina medievale che ben presto diventa una delle protagonista della storia. Bizzarri i due killeri irlandesi (il giovane Colin Farrell e l'anziano Brendan Gleeson) fin troppo umani nelle loro insicurezze e nei modi di reagire ad un esilio nelle fiabesche brume belghe. Bizzarre le loro battute così brillanti e "down to earth". Questi due sono killers con una macchia da scontare, eppure sembrano due turisti stralunati, il più maturo interessato a tutte le bellezze artistiche del posto, il più giovane recalcitrante come un adolescente in gita scolastica.

Il film all'inizio prende dunque i suoi tempi, li dilata su Bruges salvo poi far aleggiare sempre più insistentemente un'atmosfera cupa simboleggiata anche dai quadri di Bosch. Mano a mano vengono introdotti nuovi personaggi, ognuno di loro compiuto anche nel ruolo più piccolo. Ognuno di loro fonte di nuove battute, incontri e scontri. Fantastico Jordan Prentince, l'attore nano che prende la chetamina (un tranquillante per cavalli che viene usato come droga nei rave e non solo), brava la nuova stella francese Clémence Poésy, perfetto Ralph Fiennes in un ruolo a lui congeniale di gelido e inesorabile capo dei killers.

Quando la storia procede e i giochi si fanno duri i duri continuano a rimanere in un equilibrio sempre più spiazzante tra commedia e tragedia, tra umanità e legge d'onore, tra speranza di redenzione e destino scritto. Forse verso la chiusura la sceneggiatura investe su un colpo di scena poco plausibile anche se in qualche modo annunciato più volte nel corso del film. A conti fatti In Bruges funziona fino in fondo anche se è uno di quei film che non vuole ricadere in nessun genere. Per questo ma anche e soprattutto per il doppiaggio immagino che non avrà vita né facile né lunga nelle nostre sale.

Il doppiaggio in italiano è veramente una cosa ignobile e non sto esagerando. basta considerare che in un film come questo dove la maggior parte delle battute sono create su differenze di nazionalità, accenti, lingue, ecc gli americani sono doppiati come Stanlio e Ollio. Per chi ha la possibilità di farlo e per chi se lo vuole godere veramente, godendo anche delle belle voci di Farrell, Gleeson e Fiennes, va assolutamente visto in originale.

A proposito di godimenti: per le lettrici del blog una bella foto del regista Martin McDonagh!

One of the posts that didn't save and has been a few weeks since I have seen it so not quite as detailed.

Directed by Martin McDonagh who did the excellent short Six Shooter and has a fair stab at his first full length feature.

Starts with the two main characters Brendan Gleeson and Colin Farrell and is dialogue driven which is done well with Gleeson more in the role than Farrell.  Sometimes Farrell's acting varies between a man who is a bundle of nerves to a jaded yuppy type figure.  The dialogue can be very snappy but sometimes it is just too forced and it doesn't always hit the mark.

The story is well done and there are some good moments: the touring around Bruges, the moments between Farrell and new girlfriend, and the midget/dwarf and the hookers to name a few.

It is Ralph Fiennes character though who really makes this film- even the scenes where he is only talking are the more memorable.   The phone call with Gleeson and Fiennes is excellent and of course when they are finally face to face on screen in the square and tower near the end.

The main supporting cast is good but some of the others are only memorable for the fact that they actually distract from the film to a certain extent.

There is some great cinematography but most is fairly average...one of the best scenes was when Fiennes character is going onto the movie set at the end of the film- great angles and lighting.

Overal it was a good film but only that- it was fairly uneven and although there were  moments where everything gelled into quite a nice whole, they were only moments.

And it's a pretty good film! I hate how my expectations are  lowered whenever I approach a British film, but I suppose it does allow a modest film like this to shine out. It's a Film4 Production, therefore British, starring Brendan Gleason and Colin Farrell, therefore Irish, but set almost entirely in Bruges (whose tourist industry it should greatly benefit), therefore European. And released through Universal.

Eigil Bryld's photography shows the city off to great effect, but Martin McDonagh's intelligent direction keeps the scenic values working to the benefit of the film as a whole. His only error as director is to presage a long take with a glimpse of TOUCH OF EVIL on TV. Referencing that famous crane shot is rather studenty -- Altman got away with it in THE PLAYER by doing it so blatantly it became a postmodern gag. James Toback did it in EXPOSED and it struck me as juvenile. It doesn't help when the takes involved lack the complexity and bravura of Welles' ground-breaker.

The filming is elegant and unhurried, attentive to performance, and it's here the film scores. As two criminals laying low, Gleason and Farrell are funny and engaging, even when misbehaving atrociously. McDonagh's script serves up skull-fulls of political incorrectness, with Farrell in particular using most of the forbidden derogatory terms, and karate-chopping a dwarf for good measure. In fairness, the little guy, Jordan Prentice, had just been promoting race war. The fact that he's American, short, and apt to spout racist nonsense under the influence of cocaine suggests some kind of Mel Gibson spoof, but it isn't belaboured.

Farrell redeems himself from his ALEXANDER embarrassment with an assured comic performance. The central joke of his character -- an entirely unmotivated hatred for the inoffensive Bruges -- never wears out, and he's allowed some genuine pathos as well. Gleason is a marvel to behold. His great decomposing pudding of a face fully justifies the presence of 31 visual effects artists in the credits -- it couldn't have been easy to create. He earns our respect by demonstrating an unnatural ability to animate and transmogrify every fold and flap of facial flesh, but mostly CHOOSING NOT TO. In his last moments, he does things with one eye that simply defy both belief and comprehension, retracting it inwards, before extending it like a thumb, apparently looking at himself, winching it back into its pillows of skin, then somehow turning it off, apparently forever.

Clémence Poésy, Farrell's romantic interest, is charming, distinctive looking, and hypnotically watchable -- she may be the HARRY POTTER kid who has the strongest chance of adult stardom. Jordan Prentice manages to make the "racist dwarf" character sympathetic as well as surly, and transcends his role's starting point as a swipe from LIVING IN OBLIVION.

And then there's Ralph Fiennes. Looking more and more like Leonard Rossiter, and playing a role that could easily have been a pale imitation of Ben Kingsley's terrifying turn in SEXY BEAST. Fiennes plays the part as if that worry hadn't occurred to him. Although his cockney accent always has an artificial quality (some real ones DO) he's effective, menacing, and very funny, something I hadn't known he COULD be. Although a friend who worked with him has called him "the most boring man alive", he's certainly compelling on the screen.

Peter Serafinowicz as Ralph Fiennes / Leonard Rossiter.

His appearance does pose problems, however. The amusing script spends its first half replaying Pinter's The Dumb Waiter. When Fiennes shows up, it slowly becomes an action thriller. And the action doesn't build, sustain, dazzle with spectacle or obey the rules of logic. Having dismissed the idea of shooting Gleason in public, Fiennes pulls a gun and starts blasting at Farrell in full view of swarms of tourists.

But the flaws aren't enough to wreck it altogether -- the film is still witty and gracefully made even when it's a bit off-track. And it's a first feature. So there's hope.

"Lots of midgets have offed themselves. I hope yours doesn't, otherwise your film'll be fucked."

My Mum's capsule review ~ "Sweary but good."

And yes, the MPAA confirms the second part: "pervasive language".

The humor in this movie always comes at someone's expense and is frequently of the black variety. Well meaning people are often beaten, mocked or even shot. Nobody gets away safely from the verbal guns of Mr.McDonagh. While all of this might sound like criticism, it is actually praise. What critics have forgotten is that this is a movie about hitmen, people who have rejected traditional social mores and morality. Therefore, all the amorality, hedonism and nihilism exhibited by the movie's protagonist Ray (Colin Farrell) is completely justified and refreshingly accurate. Ray's partner is played with touching restraint Brendan Gleeson. Gleeson, in one of the movie's cleverer conceits, is a far better hitman than Ray yet possesses a far larger conscience and much more integrity.

Their boss, Harry, is Ralph Fiennes doing what Ralph Fiennes does best, playing a pyschopath. Not to reveal too much of the plot but there is a fair amount of violence that is again justified since this is a movie about hitmen. It is very easy to be outraged by In Bruges and it is much harder to see the streak of old fashioned Catholic morality running beneath the surface, appearing only at the movies bloody end. I highly recommend In Bruges just for spectacle of Colin Farrell not coasting and riffing with the dexterity of stand up comedian. McDonagh is most certainly not much of a visual stylist and the soundtrack is mildly above average. Still, In Bruges is a very good film, not a classic but a dialogue heavy punch to the gut that definitely deserves a viewing or two.

-Vman

While Martin McDonagh's first feature is anything but 'on the nose' with its ideas and themes, I'd like to offer that In Bruges suggests, perhaps, that redemption often comes not in the safe, cushioned seats of a church or with the splendor and beauty of the created world, but rather it often comes in the form of the grotesque - the visible and physical reminders of what happens to a soul left to its own devices.

In Bruges is Martin McDonagh’s follow-up to his unforgettable (and Oscar winning) short film, Six Shooter, and is well worth the visit.

To begin, this is a Focus Features film and I have grown to admire and look forward to most of the projects they put out because they have an independent film feel with a less modest budget. In Bruges does not fail to impress. This is one of those movies that is more likely to be quoted in the future than to be remembered as a billion dollar grosser.

The movie starts and ends (of all places) in Bruges, a city in Belgium with a heavy history from the medieval times. Colin Farrell plays an Irish assassin named Ray who's planted in the city awaiting orders from his boss Harry (Ralph Fiennes a.k.a. "Lord Voldemort".) While in the city, he waits with his partner Ken (Brendan Gleeson) in a hotel room. They talk about life and religion and all sorts of stuff. This stuff is what drives the witty-ness of the movie, the taboo and absurdity of all the things they discuss (like an ultimate war among the races of the earth). First-time film director and playwright Martin McDonagh depicts his characters well in the film. His character Ray redeemed Farrell from the ditch he has been digging with his career. Brendan Gleeson’s not too bad himself, playing the assassin mentor who grows fond of the youthfulness he sees in Ray. My favorite, of course, is Ralph Fiennes’ super swearing, Harry. Harry weaves a blanket of obscenities that could keep you warm hours after you finish the movie, it really is magical. The violence is also sparse but shocking (in a good way).

In Bruges is the type of movie you would see if want a movie that tilts a little more on the edge than most. My only complaint is that I feel that I enjoyed the colorful accents almost more than the plot. But then again, I don’t know if that’s a bad thing.

4 stars out of 5

This review first appeared on StyleWeekly.com

“In Bruges” revels in its version of dark comedy.
by Wayne Melton

Martin McDonagh sure has his own idea of dark comedy. Of the many ways the writer-director could have made fun of Americans in his movie about two London hit men (Colin Farrell and Brendan Gleeson), he chooses some interesting ones: There’s the requisite family of big fat elephants, of course, but also a whiny, rude, horse-tranquilizer-taking racist dwarf. The dwarf gets off easier; he at least apologizes for being an American. I know what you’re thinking: “If only I could shed these pounds and be a suave British writer who makes hip movies featuring wise-cracking dwarfs.”

And boy is McDonagh evenhanded. As his main characters bide their time in the quaint, historic city of the title, hiding out after a botched hit, McDonagh, a lauded London playwright of Irish descent, manages to lob grenades of wit against a constellation of stereotypical types. Europeans (read: non-Brits), we find, are, get this, goofy left-wing nuts — except of course when they are goofy right-wing nuts. If they are neither, they are amoral wastes, like the Amsterdam prostitute the film includes so she can say she’s an Amsterdam prostitute.

“In Bruges” launches attacks against fat black women, dwarfs, skinheads, intellectuals and European art-film makers (consider yourselves served). If you’ve been waiting for gays to get theirs, wait no longer. McDonagh gives it to everyone without reservation, taboo or Tattoo.

The only people who get off easy, of course, are his hit men, who, probably because they are Londoners of Irish descent, are killers with hearts of gold. Well, at least the older father figure, Ken (Gleeson), is. His buddy, Ray (Farrell), is still developing his gold heart under an incompetent, surly, crude, unsophisticated, bullying, incurious exterior. “The boy,” as Ken fondly refers to him, just needs a chance to change.

But, you say, we just saw “the boy” punch a woman in the face in a restaurant and yell “That’s for John Lennon!” at her boyfriend, because they are Americans. (How many Irishmen have thought of that one?) We learn later the couple is actually Canadian, but that revelation (over my head, but strafing comedy, I presume) doesn’t come until after Ray’s date, Chloë (Clémence Poésy), kisses him for his bravado.

After Chloë later tries to rob him and Ray learns that’s how she makes part of her living, he laments that he lost his one chance with a “nice” girl like her. Chloë is so moved she kisses him again. Ray, relieved, then steals from her. One thing is certain, when McDonagh wants to keep an audience guessing, he really pulls out all the stops.

It’s true that throughout most of storytelling history, developing identifiable characters with strong personalities and motivations was considered a good thing. But, like the irascible Ray often puts it, screw history! McDonagh has developed fathomless characters with no discernible motivation, people churning in a so-deep-with-wackiness plot it doesn’t have to have a story. One can only suppose that dark comedy is all the more clever when the action doesn’t make any sense.

That’s why, when Ken and Ray’s boss, Harry (Ralph Fiennes), are in a shootout at a historic landmark — no one hears the gunfire. In dark comedy, crowds sipping ales and taking in views mere footsteps away must be in on the gag.

That’s why when, minutes later, one of the two men falls from the landmark at the feet of the passersby below and the other emerges from the bottom, prompting another shootout and foot chase, nobody stops them. All this commotion would bring the police 10 times out of 10 in your city, but not in McDonagh’s Bruges. Not even blocks away, when the two criminals stop for several minutes of banter, do we hear the sound of the po-po. 9-1-1 is a joke in this town. A dark joke.

We know this because many minutes later, with the men still shooting and racing, though no more stealthily, one of those episodes of amnesia has descended upon the entire city, whose citizens now loll and meander through the streets as if nothing happened. No sirens sound, no whistles shriek, and no one rushes to see what all the fuss is about. Only “In Bruges.” Americans, dwarfs, realism — look out for the sequel. (R) 101 min. S

IN BRUGES -- Martin McDonagh, Britain, 2008, 5
SEMI-PRO -- Kent Alterman, USA, 2008, 2

As the headline says, I didn't think either of these two comic films worked, but I would actually recommend IN BRUGES to most people because it's obviously the work of talented people who made some bone-headed missteps that just blew the film apart. I accept as possible that I just "didn't get it" or saw it on a bad day. SEMI-PRO, by contrast, isn't just bad, it's lame, and lazy. There isn't anything even there "not to get" or to blame on circumstance. I try to avoid the school of criticism that awards points for ambition. But seeing these two comedies a few days apart, I couldn't avoid it -- the British film is at least trying while the American film isn't.

I didn't laugh very much at IN BRUGES -- two Irish gunmen hide out after a hit in the eponymous medieval Belgian town; one takes to it, the other conspicuously doesn't and it's familiar fish-out-of-water, contrasting cop-buddy territory. Brendan Gleeson and Colin Farrell as the mismatched set of killers and have great fun with McDonagh's words -- the film's strength is the screwy dialog they toss around and riff off like "the patter." The best: a scene in which Gleeson reads aloud an expletive-written telegram in the tone of the world's most contemptuous phone-solicitor reading his pitch script. The spectacle of assassins reciting stylized, hyper-sprung dialog reminded me a bit of Vincent and Jules in PULP FICTION.

And that comparison is the key to IN BRUGES's failure and why mentally, I was telling myself throughout the movie "this is not working." Tarantino kept his creations in Movieland or otherwise at a distance; IN BRUGES has scenes in which it comes out that Farrell botched the hit on a priest and killed a bystander child, waiting in the confession line. And he cries in Gleeson's lap over it, has "inner struggles," and wants to get out of the assassin lifestyle. The film's denouement involves two suicides, one of them an attempt to save another character, the other an on-principle atonement. I guess we're supposed to take that seriously, but this is a movie that features midget jokes by the thimbleful. All-over-the-map, uncontrolled or inconsistent tone is a thing I just can't tolerate. Comedies can be serious, of course, but they have to do it by indirection while maintaining the comic veneer; not by explicitly trying to tug on the heartstrings and tear-ducts. I refuse to take seriously the wailing and gnashing of teeth and noble deaths in the same movie as jokes about what a shithole Bruges is, and scenes of sharing whores with dwarfs on coke conversing about a race war. The end scene in particular grated on me, given ... I will be vague ... what McDonagh's idea of Purgatory is, and whether it's meant seriously or just another cheap bit of tourist humor.

IN BRUGES probably rewards thematic analysis -- as I say, I would not exactly warn people away from the film and I may take another look at it myself some day. There's obviously a lot of the Graham Greene world in there -- atoning death, sin's wages, death of a priest. There are several scenes set in churches and Bruges's medieval character is constantly pointed out. But Greene understood that you can't put clowns at the center of such a scenario (yes ... I hated hated both ROSENCRANTZ AND GUILDENSTERN ARE DEAD and WAITING FOR GODOT).

Still ... better ambitious failure than lazy failure. I couldn't believe what I was watching in SEMI-PRO. I've never been the biggest Will Ferrell fan, but couldn't he see that he doesn't have a character to play, that the movie has no script and not even really much of a concept, and that there are no supporting characters bizarre enough to take over the movie, like Sacha Baron Cohen did TALLADEGA NIGHTS (a much better Will Ferrell sports film). Compare the two Flint Tropics sportscasters with Gary Cole and Jason Bateman in DODGEBALL (which I saw parts of again recently) for another sense of just how underwritten and phoned-in SEMI-PRO is. In fact, just compare the film with DODGEBALL, period. SEMI-PRO is a mere sitcom episode padded out with some montages.

It is also filled with mistakes or scenes that make it look like the film was tampered with, mid-shoot -- Ferrell's character wears a wedding band in some scenes, but not others; he gives a late speech about "the anals of history," without having been a malaprop-machine to that point (as say Derek Zoolander was; hey ... there's another vastly superior ridiculous comedy -- "cut me, cut me"); Woody Harrelson throws a necklace with an NBA championship ring on it at another character, we later see that character give back the ring alone and then later-still see Woody wearing the necklace; we see the other players on the team having quirks, like being a devout Bible reader, that look like setups for comic threads that never materialized; Harrelson acts surprised at the climactic moment to learn that Ferrell shoots free-throws underhanded (he sees this for the first time in the 84th game of the season?) and ridicules it, apparently unaware that this era's best free-throw shooter was Rick Barry, who shot them that way and had led teams to both ABA and NBA titles by 1976.

I laughed a couple of times at SEMI-PRO -- the reappearances of the bear (not the actual bear-wrestling scene, which of course goes nowhere once the premise is set up); the Russian Roulette game; "she looks structurally unsound"; Ferrell in a Dumpster, singing his former hit song with new lyrics. But the film really exemplified its title. It looked like the half-assed work of a bunch of bush-leaguers. And unlike IN BRUGES, I have no reason to think I may reassess that opinion or any real incentive to want to find out.

Hallo!, and Welcome to Belgium! No need for formalities or foreign speak as everyone in the entire country speaks perfectly good English or English with an Irish accent. I kid of course but it does allow me to segue to In Bruges, Martin McDonagh's first feature film. His first work behind a camera was for Six Shooter, an Oscar winning short (2006) that probably spring boarded his career to present day. This flick comes from the now highly recognized Focus Features and the wonderful people of Belgium.

The plot from the trailer was a bit unclear to me, so forgive the small explanation. Colin Farrell plays Ray, a contract killer hiding in Bruges to lay low. He's accompanied by lovable Brendan Gleeson, who plays Ken. They are quite the odd couple in that one is stout (Ken), the other trim (Ray). Ken is also older, while Ray is young and a ladies man.

The plot certainly picks up but that's not for me to tell. What I am VERY impressed with was the control of a first time director with these seasoned actors and actresses! McDonagh captures the streets of Bruges, like the rich, golden taste of their world famous beer. He's written a very, very funny script that may float over your head at times. Don't worry if you don't catch everything, there are plenty of laughs. In addition to his writing, the direction gave me much food for thought.

Throughout the film you'll notice the soft keystrokes of the piano transitioning from scene to scene. Indeed, some of the biggest action, and reveals happen during these segments. The effect is an unexpected softness that I'm sure no one was expecting heading in to the theater. The velvety music helps paint a portrait of a city unseen to most western eyes. Classic streets of stone and a town center with the appropriate bell tower show Europe for what it is...beautiful.

I'm sure I'm not the first clever blogger to recognize this is a Harry Potterfest. Brendan Gleeson after all plays Mad Eye Moody, Ralph Fiennes - Voldemort, and Clémence Poésy plays Fleur Delacour. It was nice to see the gang sans Harry, and without Voldemort's beak/ absence of nose. The casting director should certainly be proud for putting class actors in a class movie. Maybe the most impressive though was Colin Farell, a man I've had a love/hate relationship due to role choice and sometimes his flippant acting. This is a winner all the way. He shows as many sides as he can of a character we really shouldn't like.

I'm not sure what I wanted this film to be, and I'm pretty darn glad. I laughed often and was surprised even more with this film. If you are looking for a fun way to spend a night, I suggest going to Bruges, there is plenty to see and admire if you don't mind funny speaking foreigners.

Clemence Poesy says "oui oui" to a vaction...In Bruges. 

Just when I was about lose faith in film due to the muck and mire currently overstuffing multiplexes and DVD shelves, In Bruges comes along, out of nowhere, to restore my religion.  First-time feature length director/screenwriter Martin McDonagh hasn't crafted an earth shaking masterpiece, but he has a made a film that has spoken to me personally.  It tells the type of story that I hope to tell as a novelist.  It features sharp writing that I aspire to and smart directing I wish there was more of in Hollywood.  It combines elements from two of my favorite writers: Graham Greene's religious and deeply psychological study of the criminal mind, and David Mamet's too cool f-bomb laden verbal sparring.  Finally, it showcases three of my favorite things: trails of blood running down cobblestone streets, beautiful French actresses (Clemence Poesy), and midgets (I mean dwarves).  Why is it I want to visit Bruges now?

CAPTION:  "Oh, remember that guy we killed...IN BRUGES!  Good times, good times."

"They're Filming Midgets...", 16 February 2008

Author: David H. Schleicher from New Jersey, USA

...in Bruges. Two Irish hit men (Brendan Gleeson and Colin Farrell) are sent into hiding by their British boss (Ralph Fiennes) in Bruges, Belgium after a botched job only to learn that the most damning job awaits one of them just around the corner. Bruges is a picturesque tourist trap built around the oldest and best maintained medieval city in Belgium. Director and screenwriter Martin McDonagh bleeds the setting and the material for all its worth and makes his feature film debut in superb style.

The dark comedy built around the existential quandaries of hit men has been done to death over the years. If last summer's You Kill Me was the relentlessly dark and relentlessly sitcom-y take on the genre, then In Bruges is the hipster art film take on the theme. McDonagh deserves all the credit in the world for breathing life into the stale story by texturing the tonal shifts with crisp digital camera-work (that is surprisingly haunting), deep character development, and by creating a wonderful sense of place. Imagine a Graham Greene novel (Brighton Rock specifically comes to mind) modernized by David Mamet. The dialog is super smart and wickedly un-PC while the comedy parts are as gut-busting as the crime thriller parts are suspenseful.

McDonagh has also brought together an outstanding cast who thrive in the material. Farrell defies all odds and manages to be as sympathetic in the dramatic parts as he is charmingly sarcastic in the comedic parts. Brendan Gleeson gives a fantastically nuanced portrayal as Farrell's mentor and friend. Meanwhile, Ralph Fiennes channels the scary-as-hell energy he's used previously in Schindler's List and the recent Harry Potter films in a limber subversion that is a frighteningly fun to watch. The supporting cast is to die for, with Jordan Prentice spot-on as a coked-up dwarf actor shooting an abhorrent art film on the streets of Bruges, and Clemence Poesy coyly seductive and unforgettable as Farrell's unlikely local love interest.

Ultimately In Bruges meanders down too many cobblestone paths, and one scene near the end involving a bell tower stretches credibility but adds necessary dramatic effect. Certain plot elements will turn off a large segment of the viewing audience. However, those with the right mindset will be greatly rewarded.  In Bruges is hilarious, contemplative, sometimes scathing, often nihilistic, but marked by a shockingly hopeful undercurrent while tones shift and the colors of the human condition undulate in McDonagh's insightful light. The arrival of a commanding talent has been heralded...in Bruges.

Originally Published on the Internet Movie Database:

http://imdb.com/title/tt0780536/usercomments-20