I can't recommend this movie enough!

Rating: 10/10 (7 October 2015)

Irish hit men Ray (Collin Farrel) and Ken (Brendan Gleeson) have been ordered to hide out in Bruges by their British boss, Harry (Ralph Fines), soon after Ray botches up his first job and accidentally kills a little boy. Ken, older and more experienced, wants to make the best of the unfortunate circumstance by visiting Bruges' famous museums, churches, and canals while the young novice, Ray, just wants to drink beer to overcome his guilt and forget that he is, in fact, in Bruges.
In Bruges is clever, heartfelt, and entertaining, with a surprisingly fresh voice that challenges moral principles, and questions the acceptance of violence in film.
Without knowing Mcdonagh's résumé as a playwright, it is apparent that his writing is eloquent and full of energy. The dialogue in this film is fantastic, which helps with the pacing since the main plot points are exposed very early on. Additionally, McDonagh wrote Bruges as one of the main characters in the movie and made the city an active participant in the story rather than a pretty background.
Unlike many first time directors, McDonagh is not too eager to flash what he can do with the camera. He beautifully photographs the picturesque old city without resorting to showy camera movements or angles that would have been distracting and even unnecessary. Instead, the camera mimics a tourist's behavior by lingering on ordinary subjects like streets and buildings. As a result, the visual contrast between the tranquil city and the turbulent hit men is striking.
Another noteworthy aspect about In Bruges is its unique approach to the gangster/hit man genre. Ray and Ken are not the stereotypical hit men— the stoic, nonchalant Jef Costello in Le Samurai or the mysterious Anton Chigurh from No Country for Old Men— rather, these two are quite ordinary. They face surreal situations like getting into an argument about the cost of an entry (which surprisingly does not result in the ticket-seller being shot in the head), they get nervous about first dates, take contacts out before bed, and get bored by sightseeing. The intentionally anticlimactic scenes, such as chases being halted so the pursuer can look at his map, doing a countdown before a shootout, or even complementing the gun being used to kill one another, exist not only as a visual gag but also to humanize the characters.
In Bruges is not simply about guys with guns, but about guys with guns who are conscious about their actions and operate by a set of principles. Harry is a gangster with principles and a man of honor, who will go to the extreme to keep his word. It is hard to believe the gentle, soft-spoken Ken kills people for a living, "It's what I do" he says, although he is never seen killing anyone on screen. Ray is suicidal and understandably so, and what is so refreshing about Farrel's character is how he repeatedly admits his crime and expresses his guilt. The outstanding performance by the actors and the nuanced writing by McDonagh underscore the subtle comedy and tragedy that is In Bruges.
Martin McDonagh is quickly catching the attention of many, and deservingly so. He does not exploit violence, a major theme in his films and plays, rather, he confronts the audience with the moral dilemma of tolerating it and even being entertained by it. In Bruges has gained critical acclaim and a best screenplay Oscar nomination but is a miss among moviegoers, mainly because not a lot of people are aware of its existence. It is a must see for dark comedy fans and anyone who enjoys an entertaining film with great dialogue and complex characters.