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Stylistically, In Bruges embodies a lively juxtaposition between stately gothic and imposing medieval structures and thoroughly chaotic, ever-moving photography. Featuring schizophrenic mobile camerawork and long, meandering takes, Bruges keeps us unsettled and attentive to the action on screen. In one brilliantly shot sequence, we watch Ken on the phone with Harry for what is probably a five-minute real-time take. The camera never cuts to Harry's end (though we hear his voice), but stays unswervingly on Ken's face—save for a passing nod to the television in Ken's room, which is showing the opening long-take scene from Orson Welles' noir classic, Touch of Evil. It's just one of the clever in-textual references that shows up in the busy landscape of this film.

Clémence Poésy as Chloë

Indeed, the eclectic pastiche motif of Bruges is at once its most interesting and confounding attribute. The "working-class Irish mobsters in medieval Belgium" irony aside, Bruges revels in the sort of quirky unpredictability that has come to define the Tarantino-age indie crime film (random acts of violence, excessively banal dialogue, hip music). Unfortunately for Bruges, many of its oddball idiosyncrasies feel clichéd and derivative. The whole subplot with the dwarf and film-within-a-film feels totally unnecessary, even when the dwarf proves crucial to the climactic moment of irony. And as fun as the array of supporting actors and serendipitous plot twists might be, they tend to overwhelm what is the film's best asset: its played-down character moments and psychological drama.

In the end, In Bruges falls short of what it might be. With the beautiful location asset of Bruges, a trio of great actors, and an Academy Award-winning director (for Six Shooter), Bruges should really be more complete than it is. There are several standout moments in the film, but as a whole it feels rather flat and arrested. For a film about Purgatory, however, that might be appropriate.

Talk About It

1. Much of Ray's character arc has to do with his dealing with guilt over the accidental killing of a young boy. Do you think he ever feels forgiven or redeemed for what happened?
2. Do you think Bruges is meant to represent Purgatory? If so, how does this frame the events that happen as the film progresses?
3. Each of the three main characters attempts suicide. How are each of their suicidal circumstances different, or are they the same?

The Family Corner

In Bruges is rated R for language and graphic bloody violence—for adult audiences only. In addition to pervasive use of the f-word and other offensive language, there are several scenes of gruesome violence. Some of the most disturbing images include the shooting (in the head) of a young boy and the suicide-by-jumping of one of the main characters (you see his twisted, bloody body after the impact on the street below). There is also quite a bit of drug use and some scenes with prostitutes (though no nudity).

Photos © Copyright Focus Features

© Brett McCracken subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

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