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Taken simply as it comes, without reflecting, this is a 4-star or higher film. This is due to the flawless set of characters and great performances, principally Gleeson and Farrell as two hitmen told by their boss Fiennes to hide out in Bruges after a partially botched job. Fiennes himself only appears late in the film, but when he does, he is great too, as are Poesy and Madeley. Upon more reflection, the film's (and lead characters') dark heart and moral ambiguity is more apparent. Farrell's character, for instance, is wracked by guilt for an unintended killing, but apparently not by the intentional one. And Gleeson, who is instantly likable, is also a hitman! It's the interaction between these two characters and Fiennes that is the highlight of the film, as tough guys face off in scenes filled with wonderful, absolutely untrue-to-life dialogue somewhat like a John Wu film. Shot throughout is a wicked sense of humor that also helps to keep things moving. What can I say? Despite its darkness and death, this is a very impressive piece of work. ( )
I don’t know what I can say about this movie without being misleading. That synopsis above? No, no good, doesn’t give you any idea what to expect. Just watch it.
Concept: A Story: A Characters: A Dialog: A Pacing: A Cinematography: A Special effects/design: A Acting: A Music: B
In Bruges on DVD. Martin McDonagh’s directorial debut is a dark comedy. It’s also a buddy film, a gangster movie, a surreal fairy tale, and an intense look at a man struggling with his inner demons. OK, it’s pretty complex. But it is also one of the most original vehicles I’ve seen this year. However, it also requires audiences to be patient because it starts out very slowly and only in the last section does the action reach a crescendo. In the meantime, viewers will bond with low-level London hit men, Ken and Ray, who are sent to the medieval Belgian city of Bruges by their excitable boss to hide out after an assignment gone badly. Ken (Brendan Gleeson) falls in love with the architecture and history of the town, whereas Ray (Colin Farrell) is horribly bored and tries to find diversion by fighting with multiple tourists, befriending an American dwarf actor in town shooting a European surreal fantasy film, and seducing one of the locals, a woman with a few secrets of her own. The lack of entertainment also gives Ray too much time to think and sample the fine Belgian beers. He eventually turns maudlin as he worries about heaven, hell, and purgatory and his life as a murderer. It’s only after their boss Harry (Ralph Fiennes) decides what’s next in store for them that the movie really takes off. The last half-hour is very entertaining with several nice twists and subtle lines of dialog. The package of bonus features is quite good as well, with a videolog through the Bruges’ canals, a typical short on the making of the film and a gag reel. The film has a lot of bad language (more than one profanity per minute) and the crew spliced together all the cursing and swearing into one hilarious compilation. The imdb FAQ for the movie lists several other similar dark comedies that fans of In Bruges might also like.
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Ray: After I killed them, I dropped the gun in the Thames, washed the residue off my hands in the bathroom of a Burger King, and walked home to await instructions. Shortly thereafter, the instructions came through. "Get the fuck out of London, you dumb fucks. Get to Bruges." I didn't even know where Bruges fucking was. [pause] It's in Belgium.
Citazioni
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Ray: A great day this has turned out to be. I'm suicidal, me mate tries to kill me, me gun gets nicked and we're still in fucking Bruges.
Ray: We give it another day, two days, max. Then we check the papers again, and if there's still nothing in them, we phone him and say, 'Harry, thank you for the trip to Bruges, it's been very nice, all the old buildings and that, but we're coming back to London now, and hide out in a proper country, where it isn't all just fucking chocolates'.
Ken: We shall strike a balance between culture and fun. Ray: Somehow I believe, Ken, that the balance shall tip in the favour of culture, like a big fat fucking retarded fucking black girl on a see-saw opposite... a dwarf.
Ken: Ray, you are about the worst tourist in the whole world. Ray: Ken, I grew up in Dublin. I love Dublin. If I grew up on a farm, and was retarded, Bruges might impress me but I didn't, so it doesn't.
Ken: Purgatory... what's that? Ray: Purgatory's kind of like the in-betweeny one. You weren't really shit, but you weren't all that great either. Like Tottenham. [pause] Do you believe in all that stuff, Ken? Ken: About Tottenham?
Ray: My date involved two instances of extreme violence, one instance of her hand on my cock and my finger up her thing, which lasted all too briefly - isn't that always the way? - one instance of me stealing 5 grams of a very high quality cocaine and one instance of me blinding a poofy little skinhead, so, all in all, my evening pretty well balanced out...fine.
Harry: An UZI? I'm not from South Central Los fucking Angeles. I didn't come here to shoot 20 black 10-year olds in a fucking drive-by - I want a normal gun for a normal person.
Natalie: Harry. Harry! Harry: [stops] What? Natalie: It's an inanimate fucking object! Harry: YOU'RE AN INANIMATE FUCKING OBJECT!
Ray: Oh, my God... you were gonna kill me. Ken: No, I wa - You were gonna kill yourself! Ray: Well... I'm allowed. Ken: No, you're not! Ray: What? I'm not allowed, and you are? How's that fair?
Ken: Harry, let's face it. And I'm not being funny, I mean no disrespect, but you're a cunt. You're a cunt now, you've always been a cunt. And, the only thing that's gonna change is that you're gonna become an even bigger cunt. Maybe have some more cunt kids. Harry: Leave my kids fucking out of it! What have they done? You fucking retract that bit about my cunt fucking kids! Ken: I retract that bit about your cunt fucking kids. Harry: Insulting my fucking kids?! That's going overboard, mate! Ken: I retracted it, didn't I?! [quietly] Still leaves you a cunt... Harry: Yeah, I fucking got that.
Ken: You know, I'm not sure it's really his thing. Harry: What do you mean it's not really his thing? What's that supposed to mean? It's not really his thing. What the fuck is that supposed to mean? Ken: Nothing, Harry. Harry: It's a fairytale town, isn't it? How's a fairytale town not somebody's fucking thing?How can all those canals and bridges and cobbled streets and those churches, all that beautiful fucking fairytale stuff, how can that not be somebody's fucking thing, eh?
Ray: That's for John Lennon, you Yankee fuckin' cunt!
Ken: But technically, someone's bare hands, they can kill you too. They can be deadly weapons too. What if he knew Karate, say? Ray: You said he was a lollipop man. Ken: He WAS a lollipop man. Ray: What's a lollipop man doing knowing fucking Karate? Ken: I'm just saying... Ray: How old was he? Ken: About fifty. Ray: What's a fifty year old lollipop man doing, knowing fucking Karate? What was he, a Chinese lollipop man?
Ray: What are they doing over there? They're filming something. They're filming midgets!
Ray: Why didn't you wave hello to me today when I waved hello to you today? Jimmy: I was on a very strong horse tranquilizer today. Wasn't waving hello to anybody. Except... maybe to a horse.
Ultime parole
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