Bruges may be the movie's rather too-long-running joke, but Farrell's shaggy brow is easily the most entertaining thing in Irish playwright Martin McDonagh's first foray into the crime caper.
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No one wants a movie that tiptoes in step with political correctness, yet the willful opposite can be equally noxious, and, as In Bruges barges and blusters its way through dwarf jokes, child-abuse jokes, jokes about fat black women, and moldy old jokes about Americans, it runs the risk of pleasing itself more than its paying viewers.
This finale, which piles one bloody absurd epiphany on top of another almost ad infinitum, is where McDonagh lays all his cards on the table -- and his characters are the ones who have to pay up.
The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.
Chock full of wonderful lines delivered by a splendid cast, the film toys with the conventions and mostly transcends the limitations.
Neither star is sloppy, but both are loose and mellow -- a couple of pros who know they're the whole show.
After playing one too many sullen poseurs it’s clear Colin Farrell and Ralph Fiennes had a ball making an inky black comedy seething with grandiose invective.
Closer to pics like “The Hit” and “Miller’s Crossing” than to McDonagh’s bristling, funny plays, this half-comic, half-serious account of two Irish hitmen who are sent to the titular Belgian burg to cool their heels after a job is moderately fair as a nutty character study, but overly far-fetched once the action kicks in.
An endlessly surprising, very dark, human comedy, with a plot that cannot be foreseen but only relished.
When it's funny, it's hilarious; when it's serious, it's powerful; and either way, it's an endless pleasant surprise.