---
title: "In Bruges"
year: 2008
kind: "film"
canonical: "https://film.one/film/in-bruges"
fi1m_id: "in-bruges"
imdb_id: "tt0780536"
tmdb_id: 8321
wikidata_id: "Q244931"
fi1m_score: 83
critics_score: 78
critics_reviews: 12
published: "2026-09-15"
updated: "2026-09-18T08:37:53.932340+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# In Bruges (2008)

Directed by Martin McDonagh · 1h 48m · MPA R · Comedy, Drama, Crime

## Identity

In Bruges

- **Canonical:** https://film.one/film/in-bruges
- **Type:** Film
- **Fi1m ID:** in-bruges
- **IMDb ID:** tt0780536
- **TMDB ID:** 8321
- **Wikidata ID:** Q244931
- **Same entity:** https://www.imdb.com/title/tt0780536/, https://www.themoviedb.org/movie/8321, https://www.wikidata.org/wiki/Q244931

**Fi1m score: 83** · Critics 78 from 12 reviews

*In a sentence:* Bruges is lovely, though taking an armed man who hates sightseeing does rather complicate the holiday

> Colin Farrell and Brendan Gleeson make this foul-mouthed hitman comedy unexpectedly moving. Martin McDonagh’s plotting grows too convenient, but the bickering and the affection between his leads are worth an evening.

## Synopsis

Ray (Colin Farrell) and Ken (Brendan Gleeson) are hitmen hiding out in Bruges. The medieval city offers sightseeing and time to talk, but the two men take to their surroundings differently. Ray’s restlessness makes him difficult company; Ken finds more to appreciate. As their conversations move between petty irritations and questions of guilt, the business that brings them together remains hard to put aside. Martin McDonagh writes and directs this crime comedy, with Ralph Fiennes as Harry, Clémence Poésy as Chloë and Jordan Prentice as Jimmy.

## Review

Martin McDonagh’s *In Bruges* gives two hitmen time to look around a medieval city and get on each other’s nerves. We recommend it warmly, with a reservation about the increasingly contrived plot. McDonagh writes and directs a crime comedy that takes an interest in guilt without requiring its characters to become solemn whenever the subject comes up. The insults are plentiful, and some are ugly, but the film earns our attention by allowing the men delivering them to seem frightened, foolish and capable of affection.

Colin Farrell plays Ray as a man whose irritation is exhausting even before anyone asks him to explain it. His resistance to sightseeing has the unreasonable force of a child refusing something on principle. We laughed at his sulking, then felt unexpectedly protective of him. Farrell makes the childishness funny while leaving enough hurt visible to stop Ray becoming just another armed man granted permission to behave badly, and his shifts between petulance and distress are persuasive without being tidy.

Brendan Gleeson’s Ken gives Farrell someone worth talking to, and Gleeson never confuses patience with a lack of personality. His quieter responses make the exchanges feel like conversations between men accustomed to each other, rather than turns taken at delivering good lines. He also gives their discussions of guilt a seriousness that survives the interruptions. Ralph Fiennes’s Harry brings a more aggressive comic energy, giving the profanity a furious precision. He is funny, though we value the quieter exchanges between Farrell and Gleeson more.

Eigil Bryld’s photography gives the medieval city enough attention for us to understand the appeal of sightseeing. The emphatic red imagery also keeps the prettiness from feeling entirely reassuring. Michael Carlin’s production design helps those historical surroundings feel like somewhere people spend their days, not simply somewhere to pose for a picture. That matters to the comedy: the city has to seem worth visiting if Ray’s resistance is to be more than an ordinary complaint about a dull trip.

Jon Gregory’s editing leaves room for replies and hesitations instead of hurrying towards the next joke. The film runs 108 minutes, and its talk-heavy passages rarely feel stalled. Carter Burwell’s score is less consistently helpful: it sometimes presses the sadness harder than the actors need. Farrell and Gleeson have already shown us how unhappy these men can be, and the music occasionally asks for sympathy they have earned without it.

The weakness becomes clearer as the action takes over. McDonagh is more convincing when his characters are arguing than when he has to organise their movements through a crime plot. Events grow too conveniently arranged, and some developments require a generosity we were not being asked for during the conversations. The film remains entertaining, but the later plotting feels forced in a way that even the most elaborate verbal exchanges generally avoid.

Against the familiar pleasures of the gangster comedy, its interest in remorse is what makes it worth returning to. McDonagh lets us enjoy these men’s company without making their work seem harmless. That is difficult to sustain through so many jokes, and the actors do much of the work when the writing strains. Choose it for an evening when a comedy is allowed to leave a few uncomfortable thoughts behind.

*Fi1m score 83, published 15 September 2026.*

## What the critics say

Most critics respond warmly to In Bruges, with praise centred on Martin McDonagh’s profane dialogue and the partnership between Colin Farrell and Brendan Gleeson. Farrell’s vulnerability and comic timing receive particular attention, while Gleeson earns approval for his quieter work. The reviews frequently find that the hitmen’s bickering gives familiar gangster material an unexpected degree of humanity. Bruges also matters: its picturesque streets sharpen the contrast with the violence and help establish the characters through their differing reactions to the city.

Agreement is stronger on the performances than on the plotting or shifts in tone. Some critics find the comedy and sadness persuasive together; others think the later action strains credibility. Variety praises the leads’ chemistry but finds the plotting and direction weak. Slant Magazine dissents more sharply, judging the dialogue overwritten and the mixture of levity and gravity unconvincing, leaving a broadly favourable consensus with a few substantial objections.

## Straight answers

**Is In Bruges worth watching?**

*In Bruges* is worth watching for anyone who wants a foul-mouthed crime comedy that turns out to care about guilt, and we scored it 83. Colin Farrell and Brendan Gleeson bicker with real affection, and the talk is the best of it. The crime plot grows too conveniently arranged in the later stretches, but the two leads carry it through.

**How long is In Bruges, and what is it rated?**

*In Bruges* runs 1h 48m and is rated R by the MPA in the US. It is a comedy and drama film.

**Where can I watch In Bruges in the US?**

*In Bruges* is available to rent from Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is In Bruges, and is it suitable for children?**

*In Bruges* is an 18 certificate in the UK and rated R in the US, and it is not suitable for children. The insults are plentiful and some are ugly, and the film never pretends the men's work is harmless. Adults who dislike heavy swearing or a comedy that turns on violence should look elsewhere; older teenagers with a parent's judgement are the youngest we would suggest.

**How does In Bruges compare to The Guard?**

*In Bruges* is the stronger of the two, though [*The Guard*](https://film.one/film/the-guard) offers a similar mix of abrasive company, criminal business and jokes with feeling hidden beneath them. Both have Brendan Gleeson, but the earlier film's partnership is the more equal, and its conversations about guilt run deeper. Choose *The Guard* for a looser, ruder police comedy; choose *In Bruges* if you want the jokes to leave something behind.

**What should I watch after In Bruges?**

After *In Bruges*, try [*The Ladykillers*](https://film.one/film/the-ladykillers) (1955, Fi1m 86): Criminal vanity and domestic politeness make dangerously funny neighbours in this British comedy. Then [*Le Samouraï*](https://film.one/film/le-samourai) (1967, Fi1m 88): For the lonely routines of criminal work, with considerably less conversation; and [*The Guard*](https://film.one/film/the-guard) (2011, Fi1m 78): Abrasive company, criminal business and jokes that conceal a surprising amount of feeling.

### Reviews we read (20)

- **The AV Club**, Tasha Robinson (A-): McDonagh balances whip-crack comedy with character exploration in a dialogue-heavy script that shifts kaleidoscopically between tones; the leads sell the mix of farce and thriller elements flawlessly. [Read](https://www.avclub.com/in-bruges-1798203742)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic praises Colin Farrell's superb, moody and funny lead performance as a hitman alongside Brendan Gleeson, calling the film a cracking comedy-noir. McDonagh's whip-smart dialogue and direction are highlighted as making the film exhilarating and awards-worthy. [Read](https://www.theguardian.com/film/2008/apr/18/drama.thriller)
- **Empire**, Damon Wise (85/100, inferred): The critic finds In Bruges a wonderfully fresh, provocative and very funny take on the British gangster movie, unruly and foul-mouthed but thoughtful and original. It singles out the strong character work, especially Colin Farrell's vulnerable performance and the sharp dialogue. [Read](https://www.empireonline.com/movies/reviews/bruges-review/)
- **Little White Lies**, Kevin Maher (1/4/4): The critic finds the premise initially unpromising due to its title and lead actor but praises the relentless profane dialogue reminiscent of prime Mamet. The infectious joy of the performances and witty script lingers even as the thematic message fades quickly. [Read](https://lwlies.com/reviews/in-bruges)
- **Radio Times**, Damon Wise (4/5): The critic describes the violent black comedy as intelligent, entertaining and surprisingly original despite familiar gangster tropes. The central relationship and philosophical musings between the two hitmen drive the film and deliver an affecting take on despair and redemption. [Read](https://www.radiotimes.com/movie-guide/b-0gzxqr/in-bruges/)
- **Time Out**, Wally Hammond (4/5): The critic calls the film a clever and enjoyable revamp of the odd-couple gangster caper with strong verbal sparring and moral sophistry. McDonagh’s naturalistic dialogue stands out as a highlight, aided by excellent turns from Gleeson and Farrell. [Read](https://www.timeout.com/movies/in-bruges)
- **Total Film** (75/100, inferred): The review calls it a laugh-out-loud dark comedy that gives Colin Farrell his finest role in ages, with bloody laughs from its jet-black farce about hitmen in Bruges. It praises the witty dialogue but notes the writer/director is stronger on that than on story. [Read](https://www.gamesradar.com/in-bruges-review/)
- **Screen Daily** (70/100, inferred): The critic notes that McDonagh’s debut wrings another hit-man comedy from the genre with flair for dialogue and inanity delivering laughs amid the violence. Tentative cinematic skills are offset by the playwright’s loyal audience appeal and the story’s mix of siteseeing and guilt in Bruges. [Read](https://www.screendaily.com/features/in-bruges/4036660.article)
- **The Times**, Cosmo Landesman (70/100, inferred): The film is described as a darkly comic gangster story with a tragic backbone, where the setting of Bruges enhances the characters' humanity and the violence in the gags. Farrell's performance is charming but flawed with exaggerated expressions, while Gleeson's is quietly outstanding. [Read](https://www.thetimes.com/world/ireland-world/article/in-bruges-the-sunday-times-review-br3gwb75zrv)
- **The New Yorker**, Anthony Lane (60/100, inferred): The film deliberately pollutes a pretty heritage town with blood, brains, and foul language. Lane finds the approach bullying rather than convincing and singles out Gleeson's performance for holding the viewer's attention. [Read](https://www.newyorker.com/magazine/2008/02/11/strangers)
- **IndieWire**, Nick Pinkerton: The critic finds the film a lively, dialogue-driven hitman comedy with strong performances from Farrell and Gleeson that effectively blends humor and darker elements. [Read](https://www.indiewire.com/criticism/culture/review-hit-me-baby-one-more-time-martin-mcdonaghs-in-bruges-73032/)
- **RogerEbert.com**, Roger Ebert: The film is an endlessly surprising, very dark human comedy driven by its characters' peculiarities. Ebert praises the lead performances, especially Farrell and Gleeson, and notes the film's effective use of the Bruges setting to develop them. [Read](https://www.rogerebert.com/reviews/in-bruges-2008)
- **Slant Magazine**, Nick Schager: McDonagh stuffs the script with overly written speeches and fails to balance levity and gravity, resulting in a phony, pretentious crime film; the appealing lead duo and competent framing provide small consolation. [Read](https://www.slantmagazine.com/film/in-bruges/)
- **The New York Times**, Manohla Dargis: The film is an amusing trifle whose comedy of words and wounds has some sting. Dargis notes the hit men's contrasting reactions to the medieval city and the director's flair for red imagery and profane dialogue. [Read](https://www.nytimes.com/2008/02/08/movies/08brug.html)
- **Variety**, Robert Koehler: McDonagh's debut is moderately fair as a character study of two hitmen but overly far-fetched once the action begins. Koehler praises the natural chemistry between Gleeson and Farrell but criticizes the weak plotting and direction. [Read](https://variety.com/2008/film/reviews/in-bruges-1200553560/)
- **Paste**, Sean Edgar (80/100, inferred): The critic praises the film's stylistic clashes between ultraviolence, medieval Europe, and irony in its story of two hitmen hiding out. They single out the visual juxtaposition of staccato violence against Bruges' fairy-tale cityscape, which complements the irreverent and hilarious dialogue from the cast. [Read](https://www.pastemagazine.com/movies/colin-farrell/in-bruges)
- **The Skinny**, Laura Smith (★★★★): The critic describes it as a shaggy, volatile crime caper with sharp dialogue and absurd humour, highlighting Farrell's unexpectedly brilliant performance and the joyous lunacy of the climactic finale. [Read](https://www.theskinny.co.uk/film/new-releases/in-bruges-film-of-the-month)
- **Den of Geek**, Mark Oakley (4 out of 5): The critic calls it a superb film that redeems Colin Farrell after lesser roles, praising its fresh take on the gangster genre with human characters, witty dialogue and strong performances from Farrell, Gleeson and Fiennes. [Read](https://www.denofgeek.com/movies/in-bruges-review/)
- **Eye for Film**, Amber Wilkinson: The film feels like two short films joined together, with a strong dark comedy in the first half that gives way to a derivative and neatly resolved gangster story in the second. The lead performances and early humor are highlights, but the later plot developments and score detract from the overall impact. [Read](https://www.eyeforfilm.co.uk/review/in-bruges-film-review-by-amber-wilkinson)
- **/Film**, Zach Lawrence: The film is a shockingly decent surprise mixing hilarious dark comedy with poignant sadness through its witty banter and character-driven story of hitmen hiding in Bruges. The strong performances, especially Farrell's comedic chops and the central relationship, make it a standout that blends humor with emotional depth. [Read](https://www.slashfilm.com/498363/movie-review-in-bruges/)

## Details

- **Director:** Martin McDonagh
- **Director:** Martin McDonagh
- **Writer:** Martin McDonagh
- **Cinematography:** Eigil Bryld
- **Editor:** Jon Gregory
- **Music:** Carter Burwell
- **Production design:** Michael Carlin
- **Costume design:** Jany Temime
- **Producer:** Graham Broadbent, Peter Czernin
- **Cast:** Colin Farrell as Ray; Brendan Gleeson as Ken; Ralph Fiennes as Harry; Clémence Poésy as Chloë; Thekla Reuten as Marie; Jordan Prentice as Jimmy; Elizabeth Berrington as Natalie; Jérémie Renier as Eirik
- **Runtime:** 1h 48m
- **Certificate (MPA):** R
- **Release (the US):** 29 February 2008
- **Genres:** Comedy, Drama, Crime
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2008)
- **Budget:** $15 million
- **Box office:** $35 million
- **Trailer:** https://www.youtube.com/watch?v=1G6W5CTaULw

## Where to watch in the US

- Apple TV: rent $3.99, hd
- Apple TV: buy $14.99, hd

*Checked 2026-09-15.*

Also available in: AU, BE, CA, CH, EE, ES, FR, GB, GR, IE, IL, IT, JP, LT, NL, NZ, PH, SE, SG, TH, US, VN. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2009: Best Writing, Original Screenplay (nominated)

## If you liked this

- *The Ladykillers* (1955), Fi1m 86: Criminal vanity and domestic politeness make dangerously funny neighbours in this British comedy. — [Fi1m page](https://film.one/film/the-ladykillers.md)
- *Le Samouraï* (1967), Fi1m 88: For the lonely routines of criminal work, with considerably less conversation. — [Fi1m page](https://film.one/film/le-samourai.md)
- *Sonatine* (1993): Gangsters kill time, and the quiet becomes more unsettling than their violence.
- *The Guard* (2011), Fi1m 78: Abrasive company, criminal business and jokes that conceal a surprising amount of feeling. — [Fi1m page](https://film.one/film/the-guard.md)
- *The Kid Detective* (2020): A shabby investigation grows darker without losing sight of its damaged, funny detective.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/in-bruges