Film Review: In Bruges (2008)

In 1994, Quentin Tarantino introduced audiences to the premise of two bickering hitmen in his iconic film Pulp Fiction, where this dynamic was just one of many subplots. This premise a wave of filmmakers eager to replicate Tarantino’s success. Among those who came closest to capturing such success is Martin McDonagh, renowned Irish playwright whose 2008 directorial debut In Bruges stands out as a notable contribution to the genre of black comedy.

The title of the film refers to the picturesque city of Bruges in Flanders, which is one of the greatest tourist attractions in Belgium due to its rich history and well-preserved medieval architecture. The city is setting of the plot, revolving around two Irish hitmen - the inexperienced Ray (played by Colin Farrell) and his friend and mentor Ken Daley (played by Brendan Gleeson) - who are sent to Bruges from London by their boss Harry Walters (played by Ralph Fiennes) following an assassination that didn't go as planned. The two are supposed to wait there for two weeks until things cool down, and they react to the city differently - Ray hates it, while Ken enjoys its unique sights. Ray, who is obviously troubled by his past, often lashes out at tourists, but things change when he meets a local woman named Chloë Villette (played by Clémence Poésy). Meanwhile, it becomes clear that Ken has received orders to permanently silence his friend.

The criminal enterprise gone wrong is a motive that has been used in countless Tarantino-esque black comedies, so McDonagh had to bring something original to the table. In the case of this film, McDonagh takes his characters very seriously, almost to the point of treating In Bruges as a drama. The protagonists are deeply troubled by their past, whether it's the terrible things they've done or whether they themselves have been victims. This reflects not only on their demeanour but also on the general tone of the film, which grows increasingly dark as the plot unfolds and culminates in an ultra-violent, bloody, and almost nihilistic ending.

Themes of guilt and redemption permeate McDonagh's script, lending In Bruges a distinctly Catholic sensibility. This is accentuated by pivotal scenes set in churches, reinforcing the moral weight carried by the characters. Despite being celebrated as one of Europe’s most beautiful cities, Bruges is portrayed through a darker lens—its charm overshadowed by an undercurrent of vice including drug dealing and petty crime. For Ray especially, Bruges resembles purgatory rather than paradise, amplifying his feelings of entrapment and despair.

Despite its heavy themes, In Bruges is not devoid of humour. McDonagh cleverly subverts expectations by embracing politically incorrect comedy within the "buddy-buddy" framework. A particularly memorable scene features Jimmy (played by Jordan Prentice), a dwarf actor who delivers an outrageous rant about racial conflict while under the influence of cocaine.

The film benefits from an exceptional cast that elevates its material. Colin Farrell, previously known for blockbuster roles that often failed to showcase his range, shines as Ray. He adeptly navigates a spectrum of emotions—from bravado and guilt to despair—as he seeks meaning through romance with Chloë. Farrell’s performance marks a significant departure from his earlier work and demonstrates his ability to carry a more nuanced role.

Brendan Gleeson complements Farrell’s performance with his portrayal of Ken, bringing depth and gravitas to the character. Gleeson’s ability to convey both warmth and menace makes him a compelling presence on screen. Ralph Fiennes’ portrayal of Harry adds another layer; however, some critics argue that Fiennes’ character occasionally veers into excessive territory with his relentless profanity. Clémence Poésy also delivers an impressive performance as Chloë, defying typical expectations for female roles in crime films.

In Bruges is a very good film, but McDonagh, in an attempt to escape the long shadow of Tarantino, goes a little too far near the end. The film has issues with pacing, and its violent ending seems a little abrupt and dependent on too many coincidences.

Nevertheless, In Bruges showcases how Tarantino's formula can still be used with enough talent and imagination. McDonagh's debut is a dark, humorous, and touching exploration of guilt, redemption, and the human condition, set against the backdrop of one of Europe's most beautiful cities.

RATING: 7/10 (+++)

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