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.
In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged-out rock 'n' roller presumed to be dead but very much alive -- has a multi-million-dollar prize fall into... See full summary »
Exceptional London cop Nicholas Angel is involuntarily transferred to a quaint English village and paired with a witless new partner. While on the beat, Nicholas suspects a sinister conspiracy is afoot with the residents.
A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
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
When the characters visit Groeningemuseum they are shown viewing paintings "Death and the Miser" by Jan Provoost (ca. 1515), "The Flaying of Sisamnes" by Gerard David (1498), "The martyrdom of St George" by Unknown artist (1500-1510), and "The Last Judgment" by Hieronymus Bosch (1482). See more »
When Ray tells Ken that they are in the Basilica of the Holy Blood, named after a phial of Christ's blood brought back from the Crusades, they are not. They are in the Jeruzalemkerk, a private church built in the 15th century as a mausoleum for a wealthy merchant's family. The Basilica is the most visited church in Bruges. 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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Schubert: 24. Der Leiermann [Winterreise, D.911]
Composed by Franz Schubert (uncredited)
Written by Wilhelm Müller (uncredited)
Performed by Andreas Schmidt
Courtesy of Deutsche Grammophon GmbH (Germany)
Under license from the Universal Music Group, Film and Television Licensing Division See more »
A lot of reviews see fit to give a thorough plot summary, so I'll just talk b*llocks instead.
In Bruges is a grown up gangster film not because it uses the word f*ck very often, though it does, because even a child can type 'f*ck' repetitively into a screen play and judging by most recent gangster films, with a few notable exceptions, that wouldn't be too far from the truth.
In Bruges is a grown up genre film not because it hangs out in galleries and cathedrals like a tapestry woven by Brueghel's mistress from blood, sin, and judgement. Though it does.
In Bruges is a black comedy for grown ups not because it consciously satisfies our skulking childishness, our 'incorrect' urge to lash out at convention , say f*ck the lot 'o ya's, fist someone in the mouth for good measure and then offer a fast talking and wickedly funny apology. And it does all that too.
In Bruges is grown up cinema because despite being sexy, fun and stylish, it is emotionally literate. Is that allowed?
The complexity of Martin McDonagh's screen play is manifold, developing and delineating character through dialogue as much as action. Brendan Gleeson and Colin Farrel inhabit their characters with equal and at times forceful skill, displaying flawless comic timing and sensitivity. Together they breathe 'real life' into the hyperbolic corpse of a bloated genre that never quite realised it died some time ago. McDonagh's characters realise too late they've been c*nts, one way or another, and far too late, begin to grow. Characters with history, in emotional distress, barely conscious or all too aware. They do what we might in their shoes. And as they trace the outline of their own destruction in lines of cocaine or spilled beer, their conceit, self loathing, compassion or stubbornness lays them all bare. There is a cost for all of them, characters on a human scale, acting out their tragedy in recognisable terms. In Bruges is as morally instructive as it is dramatically satisfying, almost becoming a medieval mystery play in the setting of the title.
Finally In Bruges is a dangerously perfect fusion of plot, meaning and story. Ripples of understanding run back and forth across the surface of the experience, hinting at the themes which swim powerfully beneath. A film this genuinely startling doesn't happen very often.
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