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Editorial Reviews

Amazon.com
The considerable pleasures of In Bruges begin with its title, which suggests a glumly self-important art film but actually fits a rattling-good tale of two Irish gangsters "keepin' a low profile" after a murder gone messily wrong. Bruges, the best-preserved medieval town in Belgium, is where the bearlike veteran Ken (Brendan Gleeson) and newbie triggerman Ray (Colin Farrell) have been ordered by their London boss to hole up for two weeks. As the sly narrative unfolds like a paper flower in water, "in Bruges" also becomes a state of mind, a suspended moment amid centuries-old towers and bridges and canals when even thuggish lives might experience a change in direction. And throughout, the viewer has ample opportunity to consider whose pronunciation of "Bruges" is more endearing, Gleeson's or Farrell's. The movie marks the feature writing-directing debut of playwright Martin McDonagh, whose droll meditation on sudden mortality, Six Shooter, copped the 2005 Oscar for best live-action short. Although McDonagh clearly relishes the musicality of his boyos' brogue and has written them plenty of entertaining dialogue, In Bruges is no stageplay disguised as a film. The script is deceptively casual, allowing for digressions on the newly united and briskly thriving Europe, and annexing passers-by as characters who have a way of circling back into the story with unanticipatable consequences. That includes a film crew--shooting a movie featuring, to Ray's fascination, "a midget" (Jordan Prentice)--and a fetching blond production assistant (Clémence Poésy) whose job description keeps evolving. There's one other key figure: Harry, the Cockney gang boss whose omnipotence remains unquestioned as long as he remains offscreen, back in England, as if floating in an early Harold Pinter play. Harry has reasons inextricably tender and perverse for selecting Bruges as his hirelings' destination, and eventually he emerges from the aether to express them--first as a garrulous telephone voice and then in the volatile form of Ralph Fiennes. By that point the charmed moment of suspension, already shaken by several irruptions of violence, is pretty well doomed. But In Bruges continues to surprise and satisfy right up to the end. --Richard T. Jameson
Customer Reviews

Ok movie3
If you want to see something with a not too complex story line, some laughs, this is your movie.

You will laugh, you will cry, you will throw up..4
We must have seen the trailer for this thing 2 dozen times and were filled with a mixture of revulsion and curiosity. Well it's a classic case of the actual product being something very different from what the trailer might lead you to expect. If you like your comedy black, they don't come blacker. Or is it a tragedy? Colin Farrell, improbably enough, finds himself grappling with the same type of moral trainwreck Woody Allen put him through in last year's Cassandra's Dream. I'm not one to idolize those in the make believe business but the guy can flat out act. All the performances are pitch perfect. The guffaws are punctuated with outbursts of violence, the ugly kind audiences don't like because it's too believable. You won't know whether to laugh or puke. Or cry. Highly recommended but not for the squeamish or the politically correct. Oh, and don't be too proud to use the English subtitles. What with the rapid delivery and heavy Irish accents, much of the dialog was a blur without them.

Hilarious5
I watched this film On Demand because I had read good reviews. Not a Colin fan, but once I started watching it I couldn't stop laughing. Farrell, Gleeson and Donavan were hysterical. And, it was incredibly witty. If you are a fan of the "F" word, Irish dark humor, not so PC jokes, and irony, you love this film. I actually bought it so I could watch it again and so parents and friends could watch it.
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