Na Mira do Chefe

...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.

I think that I will shortly be purchasing the Oscar winning short film Six Shooter from 2004. I've got an iTunes gift card for just the job. The thought occurred to me after seeing the wonderful debut from director Martin McDonagh, In Bruges. After seeing the trailer, which really worked for me, many times and wondering at how it is from an Oscar winning director yet never hearing of the name, I did some research. While he already has more little gold men than Alfred Hitchcock, his actual feature premiere is what has opened this weekend. It is Irish, most definitely, and if you have trouble with the accent, maybe you should steer clear until in comes out on DVD, however, if you can cope, this is a smart pitch black comedy. When I say pitch black, I mean black hole expanse of darkness. The trailer leads you to believe it will be an uproarious time, and while it is very funny and very smart, there is a tragic event that is held over the proceedings, lending a somber shadow over all that occurs. In the end though, it is consistent with its wit and drama, telling an intriguing story and never relying on the laughs to hide any plot point that the creators may not have wanted to work out to completion.

If I am to gripe about anything, it will be the ending. Not the very end, however, as that is absolutely perfect. The camera-work, voice-over, and final shot cannot be argued, it is the climax that happens just before that rings false. It is the only moment like that, though, so I don't hold it against the film. McDonagh needed a way to get his characters to their arc's conclusions and if that means turning one of the roles, at first seeming to be there for jokes, into a pawn for a symmetrical kind of convenience, I'll give him that reprieve. As far as fitting with the story, yeah it works; it has to because the incident is alluded to unknowingly at many times during the course of the sightseeing romp. I guess I think it fits too well and wish McDonagh could have come up with another way to do it.

Besides that, though, In Bruges is a great time at the theatre. Colin Farrell is steadily becoming a favorite of mine with his precise comic timing and broad facial expressions. I may be one of the few people on earth that loved his comedic turn in Woody Allen's Cassandra's Dream, (yes I truly believe the comedy was intentional), and here he shows it was not a fluke. Kind of similar to his scene-stealing role in Intermission, he is a punk with a lousy disposition and disregard for tact. Here, however, he also has a conscience. This tug-of-war is ripe for laughs as he is a sweet guy, he just doesn't know how to keep his mouth shut. One-liners are in abundance and you will be laughing continuously. Brendan Gleeson helps this fact by being an effective straightman to play off of. He knows the score and tries to enjoy the "fairytale" city while his cohort sulks and puts on "moods like a five year old" because, honestly, unless you grew up on a farm and were slightly retarded, Bruges is really just hell on earth. (Actually, the city looks pretty great and I wouldn't mind checking it out once in my lifetime.) The periphery roles, and there are many, also add depth and interest to the film. Small characters like Eric Godon's alcove loving gun dealer, Jordan Prentice as a horse-tranquilizer taking midget actor (he played Howard the Duck, that is awesome), and Clémence Poésy as the love interest and enigma Cholë all are fun and never quite feel just thrown in as jokes, but instead integral parts to the story. Of course, the great Ralph Fiennes is involved too. His accent and vocabulary rivals Ben Kingsley in Sexy Beast and unfortunately is a much smaller part than anticipated from the trailer. Well maybe not unfortunately, because if he was in more it might have become a gimmick. I also couldn't help stop thinking of Harry Potter with Mad-Eye Moody, Lord Voldemort, and Fleur Delacour all involved.

I highly recommend this film for anyone looking to see a good drama with comic overtones. Don't go in thinking this is to be a total good time, with laughs a minute, there is so much more to the tale that you may not expect or necessarily be hoping for. At times it is very dark and drains every molecule of happiness out of your heads, but thankfully a good joke or line will be coming shortly to alleviate the depression.

For those who might not know the name, director Martin McDonagh is an Irish playwright who won the Oscar last year for his short film "Six Shooter" about a chance encounter on a train, and that film's star Brendan Gleeson has returned as Ken, one of two hit men sent to the medieval city of Bruges in Belgium along with his partner Ray (Colin Farrell) to rest and lay low after a hit gone horribly wrong. Ray is a miserable bastard who makes it clear he's not happy about being in Bruges, but Ken convinces him that their boss Harry has a job for them there, as well as allowing them a chance for some sightseeing, none of which improves Ray's mood. Things look up when he meets the beautiful local woman Chloe, played by French actress Clémence Poésy--you may remember her as Fleur Delacore in Harry Potter and the Goblet of Fire--and scores himself a date, which also goes horribly wrong due to Ray shooting off his big mouth. From there things continue to go south as Ray and Ken get into all sorts of messes and meet strange characters, all of whom will play a part in the larger picture.

There aren't too many non-Belgian films set in Belgium, and Bruges is a beautiful but odd place to set an entire movie. You'll probably learn more about the place than you ever need to know as Ken narrates their sightseeing excursions with a few factoids about the place. The entire first act is driven by the chemistry between Farrell and Gleason as they deliver rapid-fire patter that reminds one of McDonagh's background as a playwright, but it makes them as immediately endearing as Vincent and Jules in "Pulp Fiction," allowing for an even bigger impact as things happen to them. Our first encounter with the boys' boss Harry is an expletive filled telegraph and an equally amusing phone conversation with Ken, making it obvious that this is a mobster cut from the same cloth as Ben Kingsley's Don Logan. Those who don't recognize the voice will be thrilled when they learn who plays Harry, because it's a pleasant surprise.

This is easily Colin Farrell's best role and performance in a long time, one that allows him to show a lot of range, not just as the big-mouthed prat we assume Ray to be, but also as a thoughtful man distraught about what happened in London. Having seen the error of his ways, he feels the need to make right, even if he hides it with a lot of complaining and arguments, and that carries over to Gleason's Ken, continuing his great run with McDonagh.

McDonagh has created a clever script that interweaves its small cast of characters into an intricate crime caper that mixes humor, violence and true heartfelt human emotions into a brilliant debut feature. Just when you think you know where things are going, McDonagh throws a sharp curve ball at you and then another, and another, and pretty soon, what started as a two-handed talkie has turned into a hold-your-breath action flick, when Harry turns up in Bruges to rectify some business that Ken has botched. Even so, it never loses what made the first half so charming and entertaining, because McDonagh's impressive dialogue remains at the forefront for the extended confrontation between Ken and Harry. The ending might be somewhat grim for some tastes going by the lightness of what's gone before, but the way everything is tied together makes it all worth it.

Anyone worried that Tarantino and Ritchie's best work might be behind them, can revel in the promise of McDonagh's take on the crime-comedy genre, as this talented filmmaker shows that "Six Shooter" was no fluke and this movie begins what's likely to be a long and promising film career. On top of that, if "In Bruges" doesn't end up being the funniest and most quotable movies of the year, then it should be very close

Greetings again from the darkness. Award winning playwright Martin McDonagh brings his amazing writing talents to the big screen and scores with his first turn as a feature film director. The city of Bruges (yes, in Belgium) is the perfect setting for the multi-layered story. Its well preserved medieval architecture is like an character unto itself.

Colin Farrell delivers by far his best performance to date. He is funny, dangerous, sexy and emotional throughout. This is exceptional acting from a guy who tends to disappoint. Of course, it helps to have magnificent writing and this one most certainly delivers on that front. The dialogue is quirky and quick ... so tune in early.

Strong work also from Brendon Gleeson, who all will recognize from "Gangs of New York" and the Harry Potter series. He is a tough guy with a streak of humanity. The third piece of the puzzle is Ralph Fiennes as the mastermind bad guy. The supporting work is fine from Jordan Prentice as the dwarf actor (sadly Mr. Prentice is most famous for playing Howard the Duck) and a very cute Clemence Poesy as Farrell's odd love interest.

Very few writers can write dialogue like this and even fewer can juggle as many layers without making a film seem busy, crowded or forced. Hopefully Mr. McDonagh will bring more of his work to the big screen ... he certainly adds a touch of class!

One of the problems with seeing a trailer for a film is it creates an expectation. If it raises expectations, and the film delivers, great. However, if the film is less then expected, then the viewer feels cheated. The best case scenario is the one I found myself in before I saw In Bruges. Low expectations.

After seeing the trailer, In Bruges looked like a plodding British comedy with little originality and repetitious humor, hence the low expectations. Yet, In Bruges exceeded my minimal expectations, and, unlike my impression from the trailer, was an original drama with good acting and a nice blend of comedy mixed in. It was funny in the right places and appropriately dramatic when the story shifted into high gear towards the end.

Set in, no surprise here, Bruges, Belgium, the plot focuses on two London hit men, Ray played by Colin Farrell, and Ken, played by Brendan Gleeson. The pair is sent to Belgium after Ray botches his first hi. And therein lies the humor, Ray has no interest in being in the medieval city, and Ken wants to sight see.

I've never really liked Colin Farrell but who knew he had such a good sense of comedic timing? There is a running gag involving fighting with a bottle, and karate, that he manages to keep fresh as it pops up throughout the film. Brendan Gleeson's character provides the moral center and plays the straight man to Farrell's Ray. This works well as the movie turns more serious towards the end. However, for my money, the best performance is delivered by Ralph Fiennes who plays Harry the pair's criminal overlord back in London. Whereas Gleeson character embodies the moral center, Fiennes's Harry fills the role of principled immorality, if there is such a thing. Fiennes creates a character with a dubious moral center and is a quite believable figure of menace when he travels to Bruges to square off with Ken. Also, of note, is Jordan Prentice, an irritable dwarf who's in town to act in a movie filming there. His ramblings in one scene, about a coming race war, is worth the price of admission right there.

The only aspect of the film that didn't work for me was Ray's love interest. Early in the film he manages to woo Chloe, a drug dealer with, drum roll please, a heart of gold. For my tastes, the budding romance seems a little forced and comes across more as a vehicle for jokes and drama. But it's a small thing and I doubt anyone but me would notice.

I intentionally left a lot of plot points out, because, as I've mentioned, this film surprised me in a good way and I don't won't to ruin it for anyone else.

In Bruges is a good film. Go see it.

At the very least, it'll make you want to visit Bruges.