" We can't go back "

The Debt

A remake of an Israeli film by the same name, the film follows three Mossad agents in 1965 who are sent to Berlin to capture the Nazi war criminal: Dieter Vogel aka The Surgeon of Birkenau. Their mission is to capture Vogel alive and have him stand trial for his crimes, however not everything goes to plan. The film explores how the events from 1965 come back to haunt the three agents thirty year on.

Coming into this film I was sceptical as to how the two different time periods would be handled, but thankfully Director John Madden was able to transition between the two story lines very effectively. The process of which the earlier story in 1965 is remembered and told is very clever. You are never left confused but you are always left wanting to know more and continue watching, which I think is a pretty convincing sign that the film is effective.

Despite the experienced way the two stories are told there is no denying the flashback scenes are far more engaging that the scenes set 30 years later. The flashback scenes are full of suspense and drama and as a result I couldn't help but feel disappointed every time their scenes finished.  Luckily though the entire film is well paced and there is barely a dull moment, leaving you captivated throughout.

The three agents in 1965 are played by Jessica Chastain (Rachel), Marton Csokas (Stephan) and Sam Worthington (David) and thirty years later they are played by Helen Mirren (Rachel), Tom Wilkinson (Stephan) and Ciaran Hinds (David). In both stories the focus is on Rachel who is played as expected  extremly well by Mirren. For me she was the shinning light out of the three experienced actors and it almost seems as if she was brought into the film to make the scenes that were set thirty years later more appealing to the audience. Luckily it works.

For me the real acting talent comes from Chastain, Csokas and Worthington, as all three deliver great performances. Worthington still seems some what out place in an espionage thriller appearing more at home in a summer blockbuster but he manages to deliver a solid performance. Worthington is helped by the fact that David is an intriguing character and although he has few lines and is perhaps not explored in much depth, Worthington makes the most of his character. The real star of the movie however is Jessica Chastain. Chastain exploded onto the scene last year and delivers the strongest performance in the film, it's easy to see why she has become the actress in demand at the moment.

Don't be put off by the subject matter of this film as the events of World War 2 are simply a backdrop to the story. At the same time don't regard this as a simple film that is not worthy of your attention as there is more involved in this film than one might think. The Debt has some really suspenseful scenes as well as an intriguing love triangle. As the film ultimately explores the effects of guilt over a long period of time, posing the question, can a lie be justified?

" If I grew up on a farm, and was retarded, Bruges might impress me but I didn't, so it doesn't. "

In Bruges

Two hit men Ray (Colin Farrell) and his experienced partner Ken (Brendan Gleeson) are forced to hide out in the city of Bruges, Belgium after a job goes wrong. As the pair wait for further instructions from their psychopathic boss, Harry (Ralph Fiennes) they are left to explore the city. For Ken sightseeing in Bruges is a welcome respite whereas Ray quickly loses his patience as he finds staying in Bruges unbearable and unnecessary.

In Bruges is a strange title, at first you don't know what the title means and when you find out Bruges is a city you have no idea where it is, its even joked about in the film. The city is integral to the films plot as it provides Ken with a new perspective on life and provides Ray with an excuse to vent his anger stating at one point that "maybe that's what hell is, the entire rest of eternity spent in fucking Bruges". The city is a character in itself and it is as crucial to the film's success as any of the actors. By the end of the film you feel like you really know the city, and all you want to do is go there for yourself.

The interesting backdrop for the film is but one of the achievements of the film, as the casting choices of Farrell, Gleeson and Fiennes prove to be perfect. Farrell in my opinion gives his best performance of his career as the short tempered Ray who is tormented with guilt over the result of his past assignment. Farrell and Gleeson were both rightfully nominated for a Golden Globe for their performances with Farrell taking out the award. Although Fiennes makes a late entry he is also excellent as the foul-mouthed boss who comes to Bruges looking to do set things right according to his own principles. Yet the stand out performance comes from Gleeson who plays the calm and educated hit man that begins to question his chosen lifestyle once in the serene city of Bruges. In the end the three main characters work together very naturally making the most of McDonagh's  witty dialogue.

There is no doubt writer/director Martin McDonagh took on a difficult project for his first feature film as the interweaving plot lines and complex characters would have proved difficult for an experienced filmmaker. Yet he makes it appear easy, as he has successfully combines his amusing and intelligent script with violence and drama in a unique dark comedy. Although there are plenty of hilarious one liners there are also genuine moments of poignancy and reflection showing that McDonagh hasn't just sought out to make a violent comedy, he has tried to create a complete film. McDonagh deals with some heavy themes in the film from our purpose on earth to what the afterlife will bring whether it's heaven, hell or purgatory to the overarching theme of what is right and wrong.Somehow McDonagh manages to juggle all the elements with the end result a film that warrants a range of emotions.

Some might see McDonagh's style of filmmaking as Tarantinoesque due to the emphasis on violence and the way seemingly meaningless actions have related consequences for the end outcome of the film. I feel as though McDonagh has gained inspiration from directors such as Tarantino but has created his own unique style of film. I look forward to McDonagh's next film Seven Psychopaths which is due out next year that sees him team up once again with Farrell. I hope that the release of Seven Psychopaths encourages more people to go back and see In Bruges and I believe it will no doubt become a cult favourite in the future.

McDonagh has created a very accomplished debut demonstrating that for a film to be effective and attract genuine acting talent it is essential to have a clever script and a location that offers purpose to the film. In Bruges may be seen as a merely a postcard film showcasing the beautiful city of Bruges but it should be regarded as a film showcasing how to successfully make a dark comedy.