Parents' Guide to In Bruges

Movie R 2008 107 minutes
In Bruges Poster Image

Common Sense Media Review

By Cynthia Fuchs , based on child development research. How do we rate?

age 17+

Hit man movie is violent, profane, and provocative.

Parents Need to Know

Why Age 17+?

Any Positive Content?

Parent and Kid Reviews

age 16+

Based on 11 parent reviews

Parents say the film is a unique blend of dark comedy and violence, showcasing complex characters and moral dilemmas that are not suitable for younger audiences. While it features superb acting, particularly from the leads and a memorable performance by a supporting actor, the graphic violence and mature themes may be off-putting for some viewers, but it often leaves a lasting impression on adults who appreciate deeper narratives.

  • dark humor
  • complex characters
  • strong performances
  • adult themes
  • graphic violence
Summarized with AI

age 14+

Based on 15 kid reviews

Kids say the film is a darkly comedic and emotionally charged exploration of morality and guilt that resonates deeply with some viewers, despite its graphic violence and strong language. While many appreciate the clever writing and strong performances, particularly by the lead, others find the combination of humor with heavy themes to be unsettling and not suitable for younger audiences.

  • dark comedy
  • strong language
  • graphic violence
  • themes of guilt
  • emotional impact
Summarized with AI

What's the Story?

The title of IN BRUGES is increasingly resonant, as two hit men -- Ray (Colin Farrell) and Ken (Brendan Gleeson) -- are dispatched to Belgium following a botched job in London. Ray hates the place, so full of history, while Ken is moved by the art and architecture. Each man's reaction to Bruges parallels his moral journey. Overcome by the guilt over what went wrong during his first assignment, Ray alternately frets, contemplates suicide, and acts out aggressively, while Ken tries to soothe him with sightseeing trips and philosophical chats. Temporarily distracted by the beautiful Chloe; (Clemence Poesy), Ray doesn't know that Ken has received grave instructions from their boss, Harry (Ralph Fiennes). As Ray contemplates suicide, Ken considers sacrificing himself to save Ray; both options are trumped, however, by Harry's observance of a strict moral code, which is underscored and undermined by the fact that he is, after all, a brutal gangster.

Is It Any Good?

Our review:
Parents say ( 11 ):
Kids say ( 15 ):

Anglo-Irish playwright Martin McDonagh's first feature is darkly comic and dense with quick dialogue. It recalls films by Quentin Tarantino, in which desperate, violent characters discuss their life choices and relationships while simultaneously committing heinous acts. While the action is showy and the blood spurty, it's the evolving intimacy between Ken and Ray that is most compelling. Gleeson is especially moving as the aging Ken, who's realizing at long last the emotional and ethical costs of his career as he sees the effects on his newbie partner. Their conversations -- undertaken while walking through cobbled streets, ornate churches, and art museums -- suggest a thoughtful underside to all the nasty antics.

At the same time, the film delivers a now-familiar sort of garish brutality, fast-paced and sharply critical of the banalities that shape pop culture. The subplots are cacophonous and telling, one concerning a movie-within-the-movie inspired by Nicolas Roeg's Don't Look Now (another film about the confusing links between guilt and righteousness) and another involving a "midget" actor named Jimmy (Jordan Prentice), whose frustrations with Ray's simplistic-seeming moral scheme serve as evocative comedy and complicate the movie's examination of genre, morality, and power hierarchies.

Talk to Your Kids About ...

  • Families can talk about the violence in the movie. Is it gratuitous? Why or why not? What are the consequences of the assassins' violent acts?

  • What commentary is the movie making on the role of violence in today's culture?

  • Contrast Ray and Ken. What are their differences and similarities? What role do guilt and a sense of remorse play for both men?

Movie Details

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