An excellent example of smart modern cinema

Rating: 10/10 (11 November 2009)

In Bruges is an impressive feature length debut by playwright Martin McDonagh. Its spot-on pace sparkles with intelligent dialogue and black humour. Within minutes, I felt I knew the principal characters, Irish hit men Ken and Ray (Brendan Gleeson and Colin Farrell), for years, and felt drawn in like an invisible third protagonist to join them on their Leffe-fuelled strolls along the Gothic canals.
The titular city functions more than a mere cinematographic backdrop. It evolves with the plot, becoming more otherworldly and menacing as the pitch of impending doom heightens, reaching its crescendo in the final scene as Ray stumbles into the living canvas of Bosch's Last Judgement.
It appears obligatory for smart movies these days to reference cult cinema, and In Bruges does contain several such nods, including a recurring homage to Nic Roeg's Don't Look Now, itself referenced in the dialogue. This is does not unduly distract, merely reinforces McDonagh's anchorage in the fabric of unnerving European cinema.
Many will principally remember this movie for its laugh-out-loud surrealism, such as the ketamine-stoned, racist dwarf. Yet beneath the buoyant dialogue and memorable set pieces lies a convincing morality tale. The choices and questions effortlessly posed here are no less serious than those in more self-conscious and ponderous recent redemption tales. I actually found myself pausing the movie at one point to ask myself what I would do in a situation.
With Tarrantino firing blanks these days, I for one would be delighted to see McDonagh establish himself as the modern champion of smart, edgy cinema.