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In Bruges (2008)

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Guilt-stricken after a job gone wrong, hitman Ray and his partner await orders from their ruthless boss in Bruges, Belgium, the last place in the world Ray wants to be.

Director:

Martin McDonagh

Writer:

Martin McDonagh
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Popularity
1,159 ( 25)
Nominated for 1 Oscar. Another 24 wins & 53 nominations. See more awards »

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Cast

Cast overview, first billed only:
Elizabeth Berrington ... Natalie
Rudy Blomme Rudy Blomme ... Ticket Seller
Olivier Bonjour ... Film Director
Mark Donovan ... Overweight Man
Ann Elsley Ann Elsley ... Overweight Woman #2
Colin Farrell ... Ray
Jean-Marc Favorin Jean-Marc Favorin ... Policeman (as Jean Mark Favorin)
Ralph Fiennes ... Harry
Brendan Gleeson ... Ken
Eric Godon ... Yuri
Zeljko Ivanek ... Canadian Guy
Sachi Kimura Sachi Kimura ... Imamoto
Anna Madeley ... Denise
Louis Nummy Louis Nummy ... Harry's Child #3
Clémence Poésy ... Chloe
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Storyline

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 Huggo

Plot Summary | Plot Synopsis

Plot Keywords:

dwarf | guilt | bruges | irish | hitman | See All (373) »

Taglines:

Shoot first. Sightsee later.


Motion Picture Rating (MPAA)

Rated R for strong bloody violence, pervasive language and some drug use | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English

Release Date:

29 February 2008 (USA) See more »

Also Known As:

In Bruges See more »

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Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend USA:

$457,227, 10 February 2008, Limited Release

Gross USA:

$7,757,130, 15 June 2008
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

When talking to Harry (Ralph Fiennes) over the phone, Ken (Brendan Gleeson) mentions that Ray (Colin Farrell) was initially put off by a recently built dual-carriageway. A scene in the beginning would have showed Ray refusing to get into a carriage to get from the station to the central town, but it was deleted from the final print. See more »

Goofs

When Ray shoots the child, the exit wound is dead center of his forehead. When he has shot the priest earlier, all shots are from the side and though the shot that hit the child is one that past through the priest's body, even a direct side shot would not produce that kind of mushroom exit wound at that angle. See more »

Quotes

[first lines]
Ray: 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.
[pause]
Ray: It's in Belgium.
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Crazy Credits

In the on-screen credits, Kathy Heaser is listed twice as Graphic Designer. See more »

Connections

Referenced in The Tonight Show with Jay Leno: Episode #21.15 (2012) See more »

Soundtracks

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 »

Frequently Asked Questions

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User Reviews

 
Of Mice and Hit Men.
22 June 2008 | by jayhurstartSee all my reviews

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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