In Bruges

Renowned playwright and Academy Award-winning filmmaker Martin McDonagh makes his feature film debut with IN BRUGES, a smart and tight thriller that will astound some while irk others. McDonagh’s signature violence and dialogue successfully makes the transition from stage to screen, though those who do not understand his motivations will be left wondering what the big deal is.

After a bungled job in London, Irish hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are told by their employer (Ralph Fiennes) to wait for further instructions in scenic Bruges. (It’s in Belguim.) While the seasoned veteran Ken distracts himself with sightseeing, Ray begins to realize the extent of his actions. The two connect and share their views about life and the world around them. All the while, they become introduced to the more eclectic side of life in Bruges, including a beautiful Belgian dealer (Clemence Poesy) and a forward American dwarf.

McDonagh is a very self conscious writer and director and immediately adapts to the realm of feature length film, introducing himself with a brash, take-it-or-leave-it style. In one scene, the famous one-shot opening sequence of “Touch of Evil” plays in the background. It is no small coincidence that the scene surrounding it is one extended shot as well. He proves himself more than a capable director; most of the film is dialogue-based, but the action packed finale will have viewers on the edge of their seats. The final sequences themselves are rather simple, yet extremely effectively filmed and edited. The film’s violence is very high, yet McDonagh has a visual mastery for the grotesque, finding a sense of darkly comic beauty in the carnage.

But the film’s main strength, and the thing that will have people talking, is its dialogue. Showing absolutely no restraint, the words the characters say are deliberately designed to shock and certain to offend many groups of people. Yet none of it is meant seriously, and all of it adds expertly to the film’s dark and edgy humor. Obesity, retardation, dwarfism, race and ethnicity are all ruthlessly dragged through the mud. Expletives abound and derogatory terms muttered every minute, yet the film grows funnier every time a new line comes around that tops the others in its lewdness and sheer audacity.

The cast takes what they are given and have a ball, each member of the ensemble relishing in their roles. Of particular note is Farrell, who offers surprising heart and genuine emotion that keeps the film from being completely cynical. Gleeson’s world-weary Ken seems strictly supporting at first but grows into compelling reality as he takes matters into his own hands. Fiennes has the most fun role and knows it; he relishes in each sharp-tongued line he is given, creating a villain that is at once menacing and hilarious. The film’s only major fault is its missed opportunity to develop Poesy’s beauty and charm into a truly substantial character. While she has a few intriguing quirks, she serves the purpose of being supporting love interest and nothing more.

IN BRUGES will introduce the world to McDonagh’s distinctive voice and style. If this film is any indication, he could easily become the next big voice in cinema. The film is brash and forward in a way most filmmakers would be too afraid to even dream of. McDonagh goes the extra mile to say things others refuse to say, but instead of taking himself seriously, he finds a way to laugh about it. The film’s shocking violence and surprising humor make it a must-see, certainly for anyone who want to catch the beginning of a major talent coming into his own.

***1/2/****