In Bruges (2008) Review

Truly great comedies are able to provide more than just laugh out loud moments. They have have something else, something special to differentiate themselves from the Anchorman's of this world. Whether it be incredibly well written characters, a razor sharp script or a terrific central performance, contemporary comedies need to offer more than just gross-out cheap laughs to truly register. Thankfully, In Bruges combines all of these aspects and stands as 2008's finest comedic offering.

Quite simply, In Bruges doesn’t put a foot wrong from start to finish. Not an epic production in any sense of the word, but a tremendous film none the less. Written and directed by first timer Martin McDonagh, In Bruges is centred on two hit men, Ray and Ken, who take refuge in the tourist town of Bruges after a job goes horribly wrong. Throw in psychotic gangsters, racist dwarfs, drugs, violence and prostitutes and you’ll have a pretty good idea of what In Bruges offers.

Colin Farrell (Ray) and Brendan Gleeson (Ken) assume the roles of two hit men in hiding. Gleeson is excellent, as always, and acts as our conscience in a film that on occasion flirts dangerously with callousness. Farrell is the heart of the film, and is a revelation. His natural comedic timing is responsible for securing most of the films laughs, but it’s the sense of naivety and guilt Farrell effectively portrays that really anchor the film in reality. Ralph Fiennes plays the deranged boss determined to kill Ray. Fiennes has a field day in his role as the villain; his tantrums and razor sharp insults are among the many highlights of In Bruges. Forget Voldemort, this is Fiennes at his most sinister - his "inanimate object" moment is a personal highlight.The emphasis here is clearly on the quality of acting and the characters, as such the comedy seems to flow naturally as a result.

McDonagh's debut is about much more than cheap laughs, a heavy sense of guilt is prevalent in In Bruges; it permeates the film and all of its major characters. Farrell is essentially doomed by his overwhelming sense of guilt over recent events in London, whereas Gleeson’s guilt is more deep seated; stemming from his career, his wife, his being in Bruges. Interestingly, both characters have a chance at redemption of some degree. The redemption of Ray depends on his romance with a Belgian local, Ken understands this, and is aware that the cost of his own redemption is to help Ray – at any cost. The true wonder of In Bruges is that it is able to operate as an intriguing moral drama without sacrificing on comedy value.

In Bruges certainly doesn’t pull any punches. Some viewers are sure to find some of the content extremely offensive. But that’s what makes it great; it refuses to compromise. The comedy may be charcoal black, but damn is it funny.