In Bruges

Hot Fuzz was one of my favorite comedies from last year, so when I first heard about In Bruges and discovered it was about hit men who are forced to hide out in a sleepy town, I expected an edgier retread of Hot Fuzz. But what I discovered when I finally caught up with the film (not released in Panama City theaters) was a film bearing more similarities to my favorite film from last year, Lars and the Real Girl, than the mixed genre buddy cop movie I quote so often. Let me explain.

I expected Lars and the Real Girl to be an extended SNL sketch on the idea of a guy who dates a sex doll-some hearty laughs, gross-out moments, and a largely superficial plot. Instead, writer Nancy Oliver focused on the characters, and gave us a film that is not only a challenge to build better communities, but a parable about the male race’s chronic obsession with immature understandings of women. In Bruges, meanwhile, could have been just another Pineapple Express or Hot Fuzz, but writer/director Martin McDonagh had other plans-crafting a character oriented, yet relentlessly plotted, story that is so rich with meaning and emotional depth that it begins to cross into Les Miserables territory.

Many reviewers have recommended this movie for its laughs, but, for me, the comedy did not always quite connect. It was funny, but usually I found myself only chuckling, and, forgive me, but since a good portion of the comedy comes in the form of overused jokes at the expense of a little person, it seems like the writer is sometimes trying a bit too hard to get a laugh. It is a nitpicky qualm, really, and aside from a few poorly-keyed green-screened shots, I have no other complaints.

The performances are spot-on. Colin Farrell and Brendan Gleeson make their roles as hit men look believable, and yet still retain an approachable and likeable air. The supporting characters all fit in just right, from Ralph Fiennes as a hot-tempered Harry Waters to Thekla Reuten as the headstrong manager of the inn. The cinematography is top-notch as well. One pivotal phone call in which Gleeson’s Ken carries on a long conversation with Harry that alters the course of the movie, is almost completely covered in one virtuosic take that builds tension without drawing attention to itself.

But what makes In Bruges shine is its story. The film’s tagline is “Shoot first, Sightsee Later,” but this is a gross misrepresentation of the film. Very little shooting happens in the movie, but each action sequence is earned, and the writer finds a way to continually subvert our expectations within these scenes while still managing to give us something more satisfying than your typical shootout. And beyond the action sequences, lies a gripping morality tale, complete with a fully-fleshed out redemption story. Themes of sacrifice, atonement, honor and integrity may seem strange bedfellows for a film about hit men, but the wonder of this film is that not one of these themes feels false or tacked-on.

So I go on the record joining the chorus of voices extolling this film. We still have a few of the most promising good-movie months in the year, but I can say without hesitation that In Bruges is my favorite film of the year thus far.

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3.23 Copyright (C) 2007 Alain Georgette / Copyright (C) 2006 Frantisek Hliva. All rights reserved."