![]() |
|||||||||||||||
HOME PAGE Movie Videos Films by Year Films by Director Films by Actor Films by Actress Films by Alphabet Film Characters Film Franchises TOP 100 MOVIES in 2008! 2013 MOVIES 2012 MOVIES 2011 MOVIES 2010 MOVIES 2009 MOVIES 2008 MOVIES 2007 MOVIES 2006 MOVIES 2005 MOVIES 2004 MOVIES 2003 MOVIES 2002 MOVIES 2001 MOVIES 2000 MOVIES 1999 MOVIES 1998 MOVIES 1997 MOVIES 1996 MOVIES 1995 MOVIES 1994 MOVIES 1993 MOVIES 1992 MOVIES 1991 MOVIES 1990 MOVIES 1989 MOVIES 1988 MOVIES 1987 MOVIES 1986 MOVIES 1985 MOVIES 1984 MOVIES 1983 MOVIES 1982 MOVIES 1981 MOVIES 1980 MOVIES 1979 MOVIES 1978 MOVIES 1977 MOVIES 1976 MOVIES 1975 MOVIES 1974 MOVIES 1973 MOVIES 1972 MOVIES 1971 MOVIES 1970 MOVIES 1969 MOVIES 1968 MOVIES 1967 MOVIES 1966 MOVIES 1965 MOVIES 1964 MOVIES 1963 MOVIES 1962 MOVIES 1961 MOVIES 1960 MOVIES 1959 MOVIES 1958 MOVIES 1957 MOVIES 1956 MOVIES 1955 MOVIES 1954 MOVIES 1953 MOVIES 1952 MOVIES 1951 MOVIES 1950 MOVIES 1949 MOVIES 1948 MOVIES 1947 MOVIES 1946 MOVIES 1945 MOVIES 1944 MOVIES 1943 MOVIES 1942 MOVIES 1941 MOVIES 1940 MOVIES 1939 MOVIES 1938 MOVIES 1937 MOVIES 1936 MOVIES 1935 MOVIES 1934 MOVIES 1933 MOVIES 1932 MOVIES 1931 MOVIES 1930 MOVIES 1929 MOVIES 1928 MOVIES 1927 MOVIES 1926 MOVIES 1925 MOVIES 1924 MOVIES 1923 MOVIES 1922 MOVIES 1921 MOVIES 1920 MOVIES 1919 MOVIES 1918 MOVIES 1917 MOVIES 1916 MOVIES 1915 MOVIES 1914 MOVIES 1913 MOVIES 1912 MOVIES 1911 MOVIES 1910 MOVIES ![]() |
Two hitmen escape to the Belgian city of Bruges after their boss tells them to flee England. The two find their stay to be more eventful than sightseeing and pub-drinking, along with several interesting encounters and situations they find themselves in. CLICK HERE and watch 2009 MOVIES FOR FREE! REVIEW: Dark comedy is a very hit-or-miss kind of genre. Dealing with serious subject matter in a light-hearted and laughable tone is understandably difficult to attempt. Some may find intensively brutal irony hilarious, while others may put shame to those who could think up such a tasteless and unwatchable concept. However, the creative and critical payoff is great for these kinds of movies if done right. It makes for some original and unpredictable content on screen that can keep audiences stuck to their seat the whole way through. A movie like this doesn’t disappoint when it comes to creating some laughs when you probably think you shouldn’t. Praise should go out to Colin Farrell and Brendan Gleeson, who play a very palpable bromance throughout the story, and it’s almost heartbreaking when the events unfold near the end. You have two very Irish actors, playing two very Irish people, and exploring Europe in what I can think of a very Irish way. Not only does it create a naturalistic feel to their performances, their humour also seems genuine, and who can ever be disappointed with a Brendan Gleeson performance? As Ken pretty much babysits a gloomy and guilt-ridden Ray through the streets, we follow them as they reflect on their job not-so-well done that had planted them there in the first place. Ray’s inexperience reared its face in tragically ironic fashion on his first hit, and it’s almost scary that something like that would make you chuckle, yet I had trouble holding my laughs back. Despite this, the film balances its asinine, though very funny exchanges between Gleeson and Farrell (and dwarves) with a few shocking instances of tragedy. The film often hits you quite hard with these scenes, and it’s a refreshing but unsettling change from most comedies that rather drag on until their humour is sucked dry. An accessory to Ken and Ray’s experience in Bruges, we have quite complimentary secondary characters, including Ray’s love interest in Chloe, a drug dealer masquerading as a production assistant on a film set, a dwarf actor named Jimmy whom Ray seems to take interest towards, and Marie, the pregnant co-owner of the hotel the two stay in. Among these secondary characters, you have Harry, played by Ralph Fiennes, the two hitmen’s boss who provides most of the f-words that litter the dialogue quite effectively. All these characters end up intertwining towards the final stages of the film, much in the essence of QT or the Coen Brothers, yet it still seems strangely fitting, even if tragic, that this occurs to Ray and Ken. By the time the middle of the film rolls around, the pacing seems to have slowed to a near-end vibe, yet as soon as that next plot point comes, the movie picks up into a whole new feeling. Ken and Ray’s bromance is inevitably tested, and the comic relief of the first half of the movie flows into the second half easily with McDonagh’s writing and directing. Amongst that however, the “dark” aspect of the dark comedy starts to appear, and Ray’s personal demons seem to catch up with him; like Ray, you can’t help to think “In Bruges, of all places.” The film is sure to collect at least a couple of laughs, even if dark comedy isn’t your cup of tea. McDonagh’s writing of Farrell and Gleeson’s characters alone can draw you in, despite the atmosphere set for these kinds of films. Their relationship is both hilarious and touching to watch, and the film plays on that in true dark comedy fashion. This is, as I said, dark comedy done right. It leaves the effect of a smart, original comedy that you rarely get to see go mainstream these days. The selling point could be its Oscar nominations, but if that doesn’t do it for you, just listening to two Irish hitmen talk about spiritual judgement should convince you otherwise.
|