A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
London based hit men Ray and Ken are told by their boss Harry Waters to lie low in Bruges, Belgium for up to two weeks following their latest hit, which resulted in the death of an innocent bystander. Harry will be in touch with further instructions. While they wait for Harry's call, Ken, following Harry's advice, takes in the sights of the medieval city with great appreciation. But the charms of Bruges are lost on the simpler Ray, who is already despondent over the innocent death, especially as it was his first job. Things change for Ray when he meets Chloe, part of a film crew shooting a movie starring an American dwarf named Jimmy. When Harry's instructions arrive, Ken, for whom the job is directed, isn't sure if he can carry out the new job, especially as he has gained a new appreciation of life from his stay in the fairytale Bruges. While Ken waits for the inevitable arrival into Bruges of an angry Harry, who feels he must clean up matters on his own, Ray is dealing with his own ... Written by
The painting that occasions comment even from Ray is "The Last Judgment" by Hieronymous Bosch. Bosch-like symbolism recurs throughout the movie (the dwarf is one example), suggesting that Ray and Ken may indeed encounter their own Last Judgment - or that the waiting period in Bruges is akin to purgatory. See more »
During the flashback scene of the Hit Gone Wrong, after the priest falls dead to the floor, we are presented the shot of the young boy, praying at the altar, with the gunshot wound in his head. Based on where Ray is standing (to the right of where the boy was), the wound on the boy's head is impossible. The hole is directly in the middle of his forehead, with blood spattered on his note, meaning that Ray would have to have been directly behind him to cause this injury. However, since he approaches from the side, this means that the bullets would be traveling perpendicular to the boy's wound, rendering the entire scene impossible to have occurred this way. See more »
After I killed them, I dropped the gun in the Thames, washed the residue off me hands in the bathroom of a Burger King, and walked home to await instructions. Shortly thereafter the instructions came through. "Get the fuck out of London, youse dumb fucks. Get to Bruges." I didn't even know where Bruges fucking was.
It's in Belgium.
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Dark comedy, great dialogue, fantastic setting, but not what you'd expect
Went to see it for the setting. Loved it for the dialogue. Wished it had just gone a bit further.
In Bruges is a dark comedy set in the beautiful medieval town of Bruges, Belgium, featuring an Irish duo of hit men who have been ordered by their boss to hide out there after a high-profile job in London went sour. Their instructions are to keep a low profile, sightsee, and generally avoid trouble until further notice.
But all is not as it seems.
The dialogue between Gleeson and Farrell is witty, delivered with perfect comic timing, zany, and a joy to watch. Farrell and the charming Clémence Poésy also have great chemistry and are fun to watch on screen. The humour is designed to make viewers uncomfortable, and succeeds remarkably on this count. If you're looking for political correctness, you won't find it here. What you will find are jabs at Americans, tourists, gays, blacks, whites, fat people, and oh yeah, midgets. As this odd assortment of characters mixes and mingles in the streets of Bruges, the tension builds.
And there's just enough of a psychological dark edge to keep things interesting. This is a comedy, yes, but it's by no means light and fluffy. This movie has been compared to The Big Hit or The Whole Nine Yards, but in fact, it's much, much darker. And in my opinion, that makes it better.
Shot entirely on location in Bruges, the backdrop is of course stunning. I originally went to see this knowing absolutely nothing about it other than the title, simply because, having visited Bruges, I couldn't resist an opportunity to see it on the big screen. Filmed in the wintertime and largely at night, Bruges itself is one of the stars of the movie. Like the other characters, it is not portrayed as light, airy, innocent or picturesque, the way it is in real life. Instead, its more haunting quality is captured elegantly on film, with a heavy mist giving the town a sort of eerie, dream-like quality.
So much of this movie was just right, and I highly recommend it to people who like twisted humour and aren't easily offended.
I have two issues with this film, however. The first is the score. The music is completely wrong for this movie, giving it a feel that doesn't work at all with the dark comedy tone. The melancholy, slow, stirring music would've worked nicely with a drama or a psychological period piece, but just seems out of place here.
The second issue is with the ending. Nope, I won't give it away. Suffice to say, I thought it was wrong, wrong, wrong. All wrong. Almost as though the author couldn't figure out what to do next or how to end this thing.
But overall, I really enjoyed In Bruges. It was wickedly funny, daringly different, and fantastically non-PC. And the shots of Bruges are wonderful. Despite what the main characters say about the place, Bruges is really quite wonderful. I suggest seeing both the movie and the city.
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