Vengeance for Mr. Sympathy: Killer South Korean Thrillers on Netflix, Revisited

no_tears_for_the_dead_a_company_man
Standard

Four film movements over the past several years have kept me optimistic about the direction of bleak cinema. In no particular order, there’s the new-wave of oft-’80s-inspired horror pioneered by Ti West and the like (see: You’re Next, V/H/S/2, House of the Devil, It Follows). Then there’s the existentially bleak bloodbaths on the Outback frontier of Neo-Ozploitation (see: The Rover, Animal Kingdom, The Proposition, Son of a Gun). I’ve also waxed gushy about my fondness for the “country noir” subgenre, highlighted by films like Winter’s Bone, Joe, Mud and Cold in July.

Last but not least, of course, is the most profilic of these movements, and coincidentally the one that Netflix sources most constantly for its streaming catalogue. I’m talking about South Korean revenge-murder thrillers, all recognizable through their dependence on the cultural notion of “han”perhaps one of the most brutal concepts to ever spawn a cinematic revolution.

american han korean han I Saw the Devil

American Han                                Korean Han

Eventually I’ll need to make a comprehensive list of the top films in this subgenre, but for now, suffice it to say that all the following should be watched: I Saw the Devil, The Man from Nowhere, Oldboy, Memories of Murder, The Chaser, Sympathy for Mr. Vengeance, Sympathy for Lady Vengeance, The Host, Bedeviled.

If you’re a budding South Korean cinephile like myself, chances are you’ve seen most of the aforementioned titles. Or you’ve read about them on previous posts here. So let me offer forth three lesser-known South Korean flicks I just watched and thoroughly enjoyed. I’m not going to say they’re on the level of I Saw the Devil or Oldboy. They’re also all more fast-paced action-thrillers than what you might expect out of a Park Chan-wook film (i.e., they might be more accessible to those with weaker stomachs and shorter attention spans). Either way, if you have any interest in this movement, here’s a trifecta of very good titles that Netflix streaming currently offers:

A Hard Day
Sun-kyun Lee in A Hard DayFalling thematically somewhere between Infernal Affairs and Headhunters is director Seong-hoon Kim’s A Hard Day. The Infernal Affairs comparison comes from Hard Day being about a deadly game of cat-and-mouse involving crooked cops. The Headhunters one is mainly because Hard Day is the most nerve-wracking, tension-riddled thriller I’ve seen since that incredible piece of Norwegian cinema.

On the way to his mother’s funeral, homicide detective Go Geon-soo (Sun-kyun Lee) is involved in a deadly hit-and-run. He goes to excruciating levels to cover his tracks, with each of his deceitful moves testing the clock in James Bondian fashion.

a hard day Sun-kyun Lee

“I’m sorry mama!”

As his nightmarish evening continues, internal affairs exposes him and some colleagues for taking bribe money. And so it is that we begin our journey in rooting for a crooked, murderous cop, who somehow ends up being one of the film’s more endearing characters (that’s South Korean cinema for you).

As a multilayered web of duplicitous corruption unravels, our hero finds himself in an all-stakes deathmatch with a cunning psychopath who is essentially the South Korean Michael Myers (I’ll leave it at that to avoid spoilers).

Taking a page from common horror tropes, fast-action thrillers, and even Breaking BadA Hard Day is not a film for those suffering from heart problems, onychophagy or trichotillomania (although it may give your cinematic brain an erection lasting longer than four hours). Does it go beyond suspension of disbelief at times? Perhaps. But it’s also one of the most action-packed and entertaining South Korean thrillers I’ve ever seen.

GRADE: B+ / A-
IMDb: 6.7

No Tears for the Dead
Dong-gun Jang no tears for the dead bloody
So about the title of this post: A main commonality between No Tears for the Dead and A Company Man is that they both follow world-weary assassins who are beginning to give in to a softer side when they’re roused out of bliss/apathy by a very personal offense. (It should be noted that this is a very common theme in “han” films.)

No Tears for the Dead is, after all, director Jeong-beom Lee’s folllow-up to The Man from Nowherea slightly superior film about… a world-weary assassin who is beginning to give in to his softer side when he’s roused out of bliss/apathy by a very personal offense. Often these offenses take place in the form of wives or young girls being kidnapped or murdered (happy holidays, by the way!).

Our lead here is Gon, a hitman who has a change of heart after an assignment goes south. As his comically evil bosses press him to take care of a woman he’s beginning to fall for, he decides to go rogue and flip the script on them. What ensues is one of the most action-packed, high-budget thrillers this genre has spawned. Die Hard is channeled in bloody, explosive tower scenes. Flashy, well-choreographed action comes straight from the Jason Bourne playbook. Taken is also an obvious thematic influence.

Min-hee Kim no tears for the dead bloody

Gon’s girl…

No Tears also has some nice side roles from recognizable han-thriller regulars, including the creepy fucker who likes to bowl with human eyes from Man from Nowhere (Hee-won Kim), and the ever-sinister Dana Lee (OK, you might know him more as  Mr. Takahashi from Curb Your Enthusiasm)…
kyoko black swan curb your enthusiasm

As for drawbacks, Jeong-beom Lee lays the melodrama on a little heavy here just as he did in The Man from Nowhere, but I guess that goes with the geo-cinematic territory. Also, as the film attempts to emulate some of the aforementioned American action-thriller classics, there are some hammy performances that unnecessarily rely on actors attempting to say hard-ass things in English when they clearly have no grasp of the language. (As opposed to, say, my immaculate mastery of the Korean tongue.)

Still, production and action-wise, this film accomplishes as much as any American action-thriller blockbuster in recent memory. It might not have the depravity or sophistication of some han classics, but you’d be hard-pressed to find a more exhilarating  foreign popcorn flick made in the past few years.

GRADE: B+
IMDb: 6.7

A Company Man
Ji-seob So in A Company Man

While A Company Man is predicated on the not-so-subtle parallel between the dehumanizing realities of Asian corporate servitude and the commitments of a hitman, I’m more interested in recommending it based on it being one helluva bitchin’, kickass action-thriller.

In this installment of world-weary South Korean assassins and their moral awakenings, our man Hyeong-Do (So Ji-Sub) works for a company that does ruthless contract killings. Of course, he meets a beautiful lady with a kid and he decides it’s time to hang up his cleats. Of course, this doesn’t work. I honestly have no reason to give you more of a premise, because it’s the exact same thing that was done in No Tears, Man from Nowhere, etc. The thing is, it’s a formula that works, and Hyeong-Do is just as brooding, handsome and homicidally superhuman as any of his cinematic forebears.

The action is especially strong here, including a wall-scaling, bullet-eluding opening sequence that would make both Jackie Chan and Neo from The Matrix proud. And then there’s that Office Space on PCP moment where our man goes to town on a knife-wielding foe with a rolled up office calendar.

a company man tps reports office space

“If you could get me those TPS reports, that’d be greeeat…”

The production value and cinematography here are certainly not on par with No Tears or Hard Day, which is why I’d say try one of those first (Hard Day is the best of these three, in my opinion). That said, the action is first-rate, the thrills and kills come a mile a minute, and there’s at least a semblance of something to chew on intellectually hereas opposed to No Tears. If, per chance, you viewed Assault on Wall Street (it was bannered on Netflix for awhile) and deemed it at least somewhat worthwhile, Company Man is basically the same movie. But with much better figurative and literal execution.

GRADE: B / B+
IMDb: 6.7

-Sam Adams

Advertisements

Best of the Bleak: Eighteen Top Lesser-Known Crime, Thriller and Horror Netflix Instant Titles from 2014

Best movies of 2014 netflix instant
Standard

Consider this post a witches’ brew. The contents started as a liquid composed of every crime, thriller and horror feature on Netflix Instant. Then I cranked up the heat and gave it a year-long simmer, meticulously skimming away the fat and nasty bits. After that, I spent the next three months tasting and testing till I finally had a small saucepan of the darkest, most delectable demi-glace. I then took that shit and poured it over the finest unicorn liver and paired it with a nice barrel of chianti. And now… Dinner is served, cabrones!

hannibal lecter drinking

Bon appétit!

Wait. Did you catch all that?

Essentially what I’m saying is that I spent a year combing through Reddit subthreads, countless hours watching every imaginable film and series on Netflix Instant, and three months writing about my favorite lesser-known titles (along with the help of my partner-in-crime, Adam Fox). I’ve now condensed all this research into a list of 18 of the best horror, crime and thriller features that you may have not seen on Netflix Instant.

Are a few things missing? Sure. No list is definitive, and that’s what next year is for. But consider this a damn good menu, with every item coming highly recommended by the chef himself.

Here’s the list, graded and alphabetically ordered, with titles linking back to our initial long-form posts:

MOVIES
headhunters

Blue Ruin
blue ruinBittersweet revenge. That’s what Dwight (Macon Blair), a dumpster-diving hobo, is after when he hears the man who killed his parents is getting out of prison. Blue Ruin delivers as one of the most beautifully shot, darkly comical and poignant films of 2013. If you liked Shotgun Stories or are simply a fan of revenge and vigilante justice flicks, look no further. B+/A-

Fish Tank
fish tankA charming Irishman enters the life of a teenage breakdancer who lives with her drunk mom and foul-mouthed sister in the slums of East London. Michael Fassbender (pre-Magneto fame) provides one of his best ever performances as a boozy savior who seems too good to be true. This film creates a riveting wave of suspense, despite being the only title on this list devoid of much action or overt violence. A-

God Bless America
God Bless AmericaIdiocracy and the 1970 hippie-slaughter-fest Joe meet Network in Bobact Goldthwait’s blacker-than-black satire on American media culture and narcissism. Bill Murray’s brother, Joel, is phenomenal as an everyman who finally hits his breaking point and goes on a monstrous killing spree… inspired by human compassion. B+/A-

Gomorrah
gomorrahFucking hell, this is a bleak one. Director Matteo Garrone takes a page from Alejandro González Iñárritu’s book and intertwines four slum tales, using the gang-ridden streets of Naples as his canvas. Ranked by A.O. Scott as the sixth-best film of 2008, I’d highly recommend this to fans of Amores Perros and City of GodB+

Headhunters
Nikolaj Coster-WaldauThis fast-paced Norwegian thriller tells the story of an art thief who gets in over his head by stealing from a special ops manhunter. Said manhunter is Game of Thrones‘  Nikolaj Coster-Waldau, who brings all his kingslaying charm to what is perhaps the most throughly entertaining movie I watched all year. A-

In Bruges
in brugesLike I said, “mostly lesser-known” titles. If you haven’t seen Martin McDonagh’s brilliantly wry flick about a pair of hitmen (Colin Farrell and Brendan Gleeson) holidaying in the “fucking fairytale” town of Bruges, consider this a must-watch. For those who have seen it, I cannot urge you strongly enough to seek out The Guard, starring Brendan Gleeson as a Bad Lieutenant-esque Irish cop. (I’m quite eagerly anticipating director John Michael McDonagh’s follow-up, Calvary, which hits Netflix DVD queues on Jan. 6). A-

El Infierno
Joaquín CosioThe best lesser-known movie on Netflix Instant. Period. A Mexican man is deported back home from the States, only to find his nation in ruinous drug violence. So what does he do? Break bad and become a narco hitman, of course. Rarely is sociopolitical commentary as entertaining to watch as in director Luis Estrada’s masterpiece. My top recommendation on this list—which would explain why I wrote a fucking novella on it (see link). A

I Saw the Devil
i saw the devilI didn’t write about Oldboy because if you’re reading this, chances are you’ve seen it thirteen times. I Saw the Devil continues in the tradition of Park Chan-Wook’s gut-wrenchingly violent Vengeance Trilogy and is, with perhaps the exception of Oldboy, the best film made in the landscape of prolific gore-horror that is South Korean cinema. Alongside El Infierno and Tell No One, this rounds out my top three recommendations within this list. A-/A

Let the Right One In
let the right one inThis Swedish kiddie vampire tale makes Twilight look like Sesame Street. If for some reason you haven’t seen this, please do—it’s arguably one of the best horror movies ever made. A

The Man from Nowhere
the man from nowhere
At what what point do I just give up and dedicate my entire blog to South Korean revenge movies? That’s a question this grim story of a mysterious Asian Jason Bourne putting his life on the line to save a young girl brings to mind. While not quite as devastatingly sinister as The Vengeance Trilogy, director Lee Jeong-beom’s 2010 flick is every bit as good—and much more action-packed. B+/A-

Stake Land
stake landAside from Let the Right One In, it could be argued that this devilish, little vampire road movie is the best bloodsucker flick since Dusk Till Dawn. It’s basically a much smarter, more artfully crafted and fully realized version of The Walking Dead. Oh, and while we’re on the subject of vamps, do me a fucking favor and skip that hipster trash that hipster critics are raving about, Only Lovers Left Alive. I consider Jim Jarmusch a god among directors, but that was his most pretentious bit of bullshit ever. On a more upbeat note, keep an eye out for the Iranian flick A Girl Walks Home Alone at Night, which I nominate for best horror-film title of 2014. As for Stake Land… A-

Tell No One
tell-no-oneMichael Caine named this 2006 French mystery thriller as one of the top ten movies ever made. While I don’t fully agree, I also wouldn’t call that hyperbole. This story—about a doctor who uncovers a secret about his dead wife—somehow manages the task of being both one of the most beautiful love stories and most action-packed thrillers in recent memory. One of my top three picks on this list. A

The Taking of Deborah Logan
the taking of deborah loganThe found-footage genre finds new life in this jump-out-your-seat scary flick about a lady with Alzheimer’s who becomes possessed by demonic forces. While my smug, Masshole co-writer Adam Fox may disagree, I’d easily call this one of the best horror movies of 2014. B+/A-

You’re Next
You're nextAn Australian survivalist chick winds up at the dinner party from hell as a cast and crew of mumblecore jag-offs redeem themselves by creating one of the best slasher films in years. If there was any justice in this world, Dwight Twilley would win an Oscar for “Looking for the Magic”—which director Adam Wingard uses immaculately here.  B+/A-

SERIES
peaky blinders

Black Mirror
jessica brown findlay sings in black mirrorDid I just give a shout-out to Adam Fox? He’s the guy who’s been writing up Black Mirror for this here site. Charlie Brooker’s series of seven (so far) unrelated stories is a menacingly bleak futuristic take on technology, dystopia and human fallibility. So far we’ve posted on Fifteen Million Merits (B+), a glimpse of what happens when The Running Man meets American Idol in hell; and The National Anthem (A-), which deals with a British prime minister deciding whether he should follow through on a terrorist threat to fuck a pig.

Happy Valley
blogIf you haven’t watched Happy Valley yet, perhaps it’s for some of the same reasons that it took me so long to get around to it: The marquee image on Netflix displays an unknown, middle-aged actress in a British cop uniform. Meanwhile, there are several other British series plastered on the same page containing well-known actors in their prime, like Idris Elba, Cillian Murphy and Benedict Cumbertwat. So why should you choose Happy Valley, a show about a small-town detective who gets involved in a high-stakes kidnapping case? Let the record state that I am not comparing it to Breaking Bad… but it is the best show I’ve seen since the best show ever made ended. That’s why. A

The Fall: Season One
The FallThe Fall is perhaps one of the most intelligent cop shows on TV this side of True Detective, and now that Rust and Marty are out of the picture, Gillian Anderson’s lead as icy investigator Stella Gibson is perhaps the best character in the genre. The only downfall of this first season—which trails a sadistic Belfast serial killer—is that it left us with an asshole of a cliffhanger. Quit dicking around, BBC—deliver the goods! A-

Peaky Blinders: Season One
peaky blinders“When you walk through the garden…”. That was the line that Tom Waits opened episodes of The Wire with. “Take a little walk to the other side of the tracks” is the line Nick Cave opens Peaky Blinders with, and his “Red Right Hand” is the best intro song to any show since David Simon’s deservedly heralded series. There’s also a lot of other awesome shit happening here, like Cillian Murphy—as the leader of a Birmingham street gang—slashing people’s faces with razor-embedded scally caps. Blinders isn’t the most highbrow fare, but its first season is one of the most entertaining pieces of television I’ve seen in years. The second season falls a little short, but that’s another story for another time. A-

-Sam Adams

NOTE: A big year-end thanks to everyone who’s patronized this site, commented on it and given their support over the past three months. It means the fucking world. Also, a huge thanks to my man Adam Fox for helping me keep the ship afloat. We’ve got much more in store for 2015!

The Slum Kids Aren’t Alright: Fish Tank and Gomorrah on Netflix Instant

Gomorrah
Standard

On one hand, Americans are usually complete prudes when it comes to addressing vulgar adolescent behavior in film (Larry Clark movies not withstanding). On the other, Europeans seem to have no issue depicting teenagers in all manner of lude acts. When Blue Is the Warmest Color wasn’t busy being a great film, it was essentially a lesbian scissor-porno. And Lars Von Trier’s Nymphomaniac saga, Alfonso Cuarón’sY tu mamá también and Bernardo Bertolucci’s The Dreamers had enough teenage fucking to rival a sleepover party at R. Kelly’s house.

Foreign filmmakers also don’t shy away from adolescent violence. For every We Need to Talk About Kevin, one can easily counter with a handful of fantastic subtitled flicks. Amores Perros, La Haine and City of God immediately come to mind.

Most of these films take place in gritty, urban slums. So if Finding Forrester doesn’t really cut it for you as a coming-of-age classic, allow me to recommend two unfiltered and unforgettable Netflix Instant titles that make Spring Breakers look like High School Musical.

Fish Tank
Fish Tank kids smoking
Like the brilliant 1995 French indie hit La Haine, Fish Tank depicts European slum life set to the beat of bass-heavy American hip-hop. I must admit it’s a bit comical to see a bunch of anglo Brits with their Britty tea-and-crumpets accents vicariously living life to the tune of Nas, Gang Starr and Yung Joc (not to mention some great non-hip-hop in the form of Gregory Isaacs and Bobby Womack).

Of course there’s nothing new about this—white Brits (like most whites) have a long tradition of appropriating black music and culture. Perhaps I just think Amy Winehouse came from a more sincere place than, say, a corner kid in Marc Ecko who looks like Eminem but talks like Harry Potter.

kip napoleon dynamite

This about sums up how seriously I can take white British gangstas

To be fair, our 15-year-old protagonist Mia (Katie Jarvis in a breakthrough performance) in no way comes across as a poser. In terms of being street-tough, she makes Drake look like Oliver Twist. (The film opens with a great scene where, in true British fashion, Mia breaks another girl’s nose with a football-hooligan-inspired headbutt.)

Fish Tank head butt

“Oi!”

Mia is a b-girl who plays classic hip-hop on her cassette player and break dances in vacant tower apartments as a way to escape her shitty existence. She’s a loner and a bit of a tough cookie—or as her foul-mouthed, chain-smoking younger sister, Tyler, would describe her, a “cuntface.” As for Tyler (Rebecca Griffiths), she’s terrific as the anti-Abigal Breslin—consider her “Little Miss Moonshine.”

fish tank

Mia: Drinkin’ beer and smokin’ dope and fightin’ round the world!

If 10-year-olds dropping “C bombs” and drinking and smoking seem unnerving, that’s only the tip of the iceberg. Mia and her sister live in a beatdown East London flat with their hot mess of a mom (Kierston Wareing). Mommy’s chief concerns seem to be nursing her hangovers, drinking, men and throwing white-trash reggae parties. The kids can pretty much fuck off.

fish tank

Bad, bad mommy…

One morning while gyrating in the kitchen to a Ja Rule video, Mia is walked in on by a handsome, shirtless Irishman. Mommy’s new boyfriend, Connor (Michael Fassbender), is charming as all get out. “You dance like a black. that’s a compliment,” he says in his jovial brogue.

Fassbender Fish Tank

“Top ‘o the mornin’.”

Connor takes the family on fishing trips. He introduces them to soul music (see an amazing use of Bobby Womack’s “California Dreamin'”). He’s essentially the first decent thing to walk into their life in a longtime. Or so it would seem.

But wait. Let’s talk about Fassbender for a minute. Fish Tank was made before he was Magneto; before he got an Oscar nod for 12 Years a Slave. It’s fun watching a great actor at work in the days before he hit the big-time, and Fassbender’s work here is right on par with what I’d consider his two best performances: a hunger-striking IRA man in Hunger and a sex-addict in Shame. Speaking of Shame (which I highly recommend), if you found that bleak, just wait till you get toward the end of Fish Tank

sleazy fassbender fish tank

Does it get any sleazier?

As for the film’s drawbacks, there’s this slightly annoying, blunt metaphor in the form a sick horse that Mia finds in a desolate parking lot. I won’t even get into the heavy-handed symbolism—just consider it that magical fucking plastic bag that was flying around in American Beauty. Yeah, yeah, you’re artsy—we get it.

When it comes to strange scenarios involving horses in gritty, urban landscapes, personally I prefer whatever the fuck this music video has going on:

Fish Tank isn’t a perfect movie (the coming-of-age stuff gets a little sappy), but its view into slum life in East London is incredible in the most unsettling of ways. It’s also driven by two unforgettable performances (Jarvis, Fassbender), not to mention some strong side roles. And it’s a testament to the fact that a killer suspense flick can be made without much of anything in the way of action or bloodshed. Simply put, it’s just a brilliantly disturbing little film.

GRADE: A-
IMDb: 7.3

Gomorrah
gommorah

It’s not the bloodshed. The thing that makes Gomorrah (2008)—a nonfiction-based tale about the disastrous societal effects of feuding Neapolitan gangs—most difficult to watch is the undercurrent of doom that pervades the entire film. If there is a moment in Gomorrah where it looks like things are trending toward uplifting, I must have missed it.

The film opens with a page straight out of Nicolas Winding Refn’s Pusher Trilogy. A group of gold-adorned, Speedo-clad gangsters bask in the neon glow of tanning beds as atmospheric Euro-pop thumps in the background. Then a bloodbath ensues.

Gomorrah

“GTL, baby.”

Winding Refn’s work isn’t the only thing that comes to mind throughout the course of this deathfest. To say that director Matteo Garrone borrows heavily from Alejandro González Iñárritu’s pre-Birdman works (Amores Perros, 21 Grams, Babel, Biutiful) would be an understatement. Like much of Iñárritu’s résumé, Gomorrah is harrowingly bleak, and consists of a series of interwoven narratives following a cast of characters all playing out different roles in the same hellscape.

gomorrah slum

It’s a beautiful day in the neighborhood…

Perhaps the most poignant of these stories is the one of Marco and Sweet Pea, a pair of teenage gangster-wannabes. Deluded by what I referred to in a previous post as the “Scarface Effect,” Marco struts around in Hawaiian shirts yelling, “I’m number one.  Tony Montana! … Shit Colombians. They’re everywhere!” Of course, all of this is taking place in the slums of Naples, where the closest Marco and Sweetpea come to Colombia is through the diluted cocaine they pilfer off a group of petty drug dealers.

scarface gomorrah

Tony Montana                                     Bony Montana 

As Marco and Sweetpea score a big bag of blow and stumble on a cache of machine guns and grenade launchers, their delusions of grandeur only become wilder. They have the tools of their fictional heroes, but they’re still just kids acting out a fantasy—and a very dangerous one at that. The most memorable scene in Gomorrah shows the pair blasting AKs and heavy artillery on the banks of a river, clad in tight, Euro underwear.

gomorrah

Walter White would be proud.

Other story lines in the film follow a masterful tailor who attempts to profit from covertly working for Chinese competitors; a grocery boy who gets caught in a blood war and must choose allegiances; a young man who works for a morally reprehensible businessman who disposes of toxic waste in deadly fashion; and a skittish, gangland accountant who distributes payoff cash to the slum-living families of incarcerated gangsters.

gomorrah

Don Ciro, the sketchy payoff guy

The prevailing theme is that each character in Gomorrah has a shot at monetary gain, but said monetary gain is always at the expense of bloodletting. For those who choose to profit, death is right around the corner. For those who don’t, hopeless poverty is the reward.

With all this bleak, unrewarding depression in mind, one might ask why in the hell I’m recommending this film. Fair enough.

Like Iñárritu’s Biutiful, Gomorrah isn’t exactly “fun” to watch. (Although, unlike Biutiful, viewing it does not induce one to seek out a Prozac prescription.) In the same vein as Amores Perros and City of God, Gomorrah portrays a brutally graphic and honest depiction of a drug-driven, gangland culture and its inherent casualties. Like those aforementioned gems, Gomorrah is the kind of cautionary tale that is realistic enough—and so unsettlingly bleak—that it reminds viewers why, just maybe, aspiring to be the next Scarface is a pretty stupid fucking idea.

Would this have been the same movie without the inspiration of Alejandro González Iñárritu and Nicolas Winding Refn? Probably not. But if you like the stark depravity those two directors seem bent on, Gomorrah is a welcome addition to the canon.

GRADE: B+
IMDb: 7.0

-Sam Adams

NOTE: Of the laundry list of titles referenced in this post, City of God, Amores Perros, Y tu mamá también, Blue Is the Warmest Color and Nymphomaniac Vol. I & II are all on Netflix Instant.

In Bruges on Netflix Instant: Holidaying Hitmen and Irish Wit, Low Assembly Required

in bruges
Standard

BY ADAM FOX

Three thoughts cross my mind when watching 2008’s cult crime-comedy In Bruges:

  • I remember when Colin Farrell was supposed to be the new action mega-star of our time;
  • I really need to visit Belgium, and;
  • I’m embarrassed how writer/director Martin McDonagh’s depiction of American tourists is regrettably and painfully spot-on.
farrell

“I coulda been a contender…”

Which begs the question: Why is this film perpetually in the monolithic wasteland known as a department store’s $5 “bargain bin?” That space is relegated to future installments of the Air Bud franchise, with the vacant-eyed golden performing in increasingly obscure sports. Perhaps the price tag is an accessible way to ensure that the film finds a home in every cinephile’s library. Either way, In Bruges is an excellent, tidy representation of the assassin genre, and is refreshingly cerebral in comparison with its like-minded counterparts.

bud

“HE’S ONLY GOT ONE SHOT…”

Rookie hitman Ray (Farrell) and his partner Ken (Brendan Gleeson) are sent off to the quaint medieval town of Bruges, Belgium by their crime boss Harry (Ralph Fiennes) after Ray mistakenly kills a child in an operation gone awry. They’re confined to a tiny, inconspicuous inn and told to wait for further instruction from Voldemort himself before departing. Ken is the glass-half-full vet who attempts to enjoy all of the cobblestone-covered offerings in this “fucking fairy tale” of a city, while Ray, rather ironically, despises Bruges and all that it represents. In what is essentially Disney’s Fantasyland spread over a more generous acreage, it’s humorous to witness Ray’s gigantic axe to grind with the innocently charming Bruges.

BRUGES

“I feckin’ love Bruges!”                      “I feckin’ hate it!”

Ray, at the behest of optimist Ken, begrudgingly tries to make the most of his time stuck in this desolate hell-hole and ends up meeting beautiful Belgian Chloë (Clémence Poésy) on a movie set not dissimilar to Eyes Wide Shut, but with little people amongst the Venetian masks. On an ensuing date, Ray is hilariously up front about his career choice and is somewhat nonplussed when Chloë reveals hers—a production assistant who also deals drugs (an important position undoubtedly high up on the Hollywood pecking order). Ray’s gloomy disposition changes drastically when in Chloë’s company. But he still fucking hates Bruges.

clemence poesy in bruges

Clémence Poésy: More beautiful than Bruges

(SPOILER ALERT, following paragraph only:)
After some time passes, Ken receives the call from Harry/He-Who-Must-Not-Be-Named to take Ray out on a boat and Fredo Corleone him. Harry is a complicated and neurotic character who also happens to be a man of principle, and decides that Ray must face justice for shooting a child, accident or not. Ken just can’t pull the trigger on his partner and, after attempting to get Ray out of Dodge completely, incurs the wrath of Harry who decides to head into town and deal with the situation himself. What results is an epically gorgeous beer-battered shoot-‘em-up through the windy, narrow streets of Bruges.

voldemort

“Kill the Irishman!”

The dialogue in In Bruges is particularly smart, snappy and positively Irish, driven by the strength of Farrell, Gleeson and Fiennes’ performances. There’s a moral gravity associated with the choices the characters make throughout the film, interspersed with sweeping commentary on ethics. But each of the three lead actors look like they’re having a fucking blast filming the scenes, which in turn makes it extremely enjoyable to watch, and much easier to swallow the larger story arc the film offers. In Bruges isn’t the reel companion piece to Dostoevsky’s Crime and Punishment or anything, but there is a little more at stake than just the lives of expendable characters the audience doesn’t actually care about (as crime movies can often stray).

Bruges, Belgium is obviously a major player and the unsung hero of the film, occupying significant real estate in the story without turning it into some type of travel documentary. I’m not exactly sure how an unassuming little village like Bruges came to be the consensus centerpiece of a crimedy, but it works beautifully. Eschewing more common European locales like London, Paris and Venice affords it an immense amount of unexplored flavor. The scenes themselves aren’t too unfamiliar for fans of the genre, but they’re somehow different and more memorable with a background of belfries and bridges that closely resemble Arthurian legend.

in bruges

“Feckin’ gorgeous, eh?”

In Bruges is viciously rewatchable, enormously entertaining, and Colin Farrell’s crowning achievement over a long-spanning career in films wholly inferior to this. There’s something very vintage about the character- and dialogue-driven In Bruges, easily dismissed by the short attention-spanned Michael Bay adherents but coveted by the jaded critic-codgers like myself. It tells a story thoroughly yet succinctly, hitting all the right strides in making its comedic moments actually funny and its action moments tense.

There’s a great chance you watched this back in 2008 as it was released along with a healthy amount of fanfare for a movie of its size, but it stands the test of time incredibly well and was even better than I remember it being. In Bruges is proof that if you want to keep your finger on the pulse of adrenaline-seeking theatergoers, you don’t necessarily need to beat them over the head with CGI.

IMDb: 8.0
GRADE: A –