2008 Album of the Year: Bon Iver - For Emma, Forever Ago
An album’s backstory is often overlooked when it comes time to sit down and listen to the disc, but on For Emma, Forever Ago, that isn’t an option as Justin Vernon…aka Bon Iver, transports the listener to the Northwestern Wisconsin cabin where these songs were written and recorded and forces you to sit side by side with him as he purges his personal anguish to make Bon Iver’s debut release the best album of 2008. The album was self-released by Vernon in 2007 before being picked up by Jagjaguwar and re-issued in February. It is impossible to think of 2008 and not have this album come to mind (just check the yearly recap on Metacritic), but if you were one of the few that got into it in 2007, then major props. However, if I was forced to choose only one album from the past year to remain in possession of, it would no doubt be this one, which forced my hand to consider it as a 2008 release. Following the demise of his band DeYarmond Edison due to creative differences, Vernon secluded himself in a Wisconsin cabin over a cold, dark winter. In that time, the feelings of crushed optimism ignited by his band’s breakup inspired the 9 songs that make up this album. Feelings of lost love and the inevitable heartache that often follow new found hope is prevalent on For Emma, Forever Ago and rarely does an album capture the isolation and alienation felt by the one composing it.
The raw emotion found in the music can be attributed to the stripped down recording done in the cabin that creates an intimacy even Iron & Wine would be jealous of. Portions of the songs were added after the initial recordings and accent the tunes perfectly as to not sacrifice any of its charm. As soon as the first minor chord hits in opener “Flume”, a lump in the throat forms almost instantly as it becomes apparent this is going to be a heartfelt journey that is only enhanced by Vernon’s eerie falsetto vocals and subtle musical nuances. Despite the rather standard subject matter of lost love, they songwriting is immensely poetic and earnest. One of the best lyrical moments on the album comes on co-standout “For Emma” in the line “Go find another lover to bring a... to string along!” as if Vernon is stopping himself in mid sentence to deliver an even harsher message. The other standout comes from the instantly catchy “Skinny Love” which is the best song to sing along to on the album and is one of the best songs of the year complete with Vernon at his most honest with lines such as “Now all your love is wasted? Then who the hell was I?” For Emma closes with “Re: Stacks” which was also used perfectly on the season 4 finale of House in the most emotional scene in the show’s history.
As Justin Vernon said in an interview: “Part of the trouble with the old haunting love, is that it fucks with your future loves” showing that he will carry the scars of the past with him for the rest of his life. He echoes this sentiment in the itunes bonus track “Wisconsin” which states “That was Wisconsin, that was yesterday” yet “every place I go, I take another place with me.” For his sake, I hope Vernon is able to put the past behind him, but if his pain leads to more cathartic journeys such as For Emma, Forever Ago, then I think we will all be better for it…and maybe so will he.
The Rest of the top 10:
2) TV on the Radio - Dear Science,
3) Fleet Foxes - Fleet Foxes
4) Shearwater - Rook
5) The Hold Steady - Stay Positive
6) Vampire Weekend - Vampire Weekend
7) Frightened Rabbit - The Midnight Organ Fight
8) Okkervil River - The Stand Ins
9) Los Campesinos! - Hold on Now, Youngster
10) The Walkmen - You & Me
Check out my complete top 25 on my Amazon.com list.
1.22.2009
Best 2008 Albums (Brian's picks)
12.20.2008
Best of 2008 (Matt's)
Music
1. Vampire Weekend- "Vampire Weekend"
A freshman album which is good and unique. A very difficult combination to achieve when you are developing such a new blend of genres.
2. Fleet Foxes- "Fleet Foxes"
This is the album I wanted someone to make this year--one that is tire-proof. Its rare that any one works on vocals this much, as well.
3. Portishead- "Third"
Not an easy album to listen too--which isn't necessarily a bad thing. Not one to sing along to--listen to it with headphones.
4. No Age- "Nouns"
This is a 2-man-band from L.A. and they still manage to make that much noise.
Here's the rest:
5. Department of Eagles- "In Ear Park"
6. Los Campesinos!- "Hold On Now, Youngster"
7. The Cool Kids- "Bake Sale EP"
8. Tokyo Police Club- "Elephant Shell"
9. The Hold Steady- "Stay Positive"
10. Nine Inch Nails- "The Slip"
Almost: Gnarles Barkley, Sigur Ros, Deerhunter (I should have listened to this double album earlier, it would have definitely made the list after I had soaked it in.)
Movies
Dark Knight, Milk, Man on Wire (have yet to see Slumdog Millionaire, The Wrestler, Gomorrah, and Doubt).
9.08.2008
City of God...
City of God is a foreign film from a few years back that I have just recently got the chance to see. I had been putting it off for fear that it would be a depressing and heavy examination of life in the slums. While the film is, essentially, about that...it is so much more.
The story is set in the slums outside Rio de Janeiro, following a young man named "Rocket" who is trying to avoid the fate of his brother and of all those around him - namely, the fate of living and dying in one of the street gangs that terrorize the neighborhoods.
This is one of the most suspenseful and intense films I have seen in a long time. What's more, it is based on a true story...in fact, as the credits roll, there are video clips of the actual gang members from the 70s and 80s talking about their involvement.
There is so much about this movie that I liked: it's gritty depiction of life in the slums, it's refusal to moralize the ending or simplify the plot and characters, it's ability to cover several decades of history without getting tedious...City of God is intense, dramatic, and action packed. But it's authenticity sets it apart from the typical Hollywood fare.
I highly recommend this film.
(Rating: 4.45/5)
8.21.2008
News and Notes for two films...
Some serious developments have taken place in a couple of Hollywood's most anticipated movies of the next year.
- In case you haven't heard, Harry Potter and the Half-Blood Prince has been bumped from its original release date of November to an excruciatingly late July 2009 opening. Hollywood insider has a story about it here. Supposedly, Warner Brothers feels that The Dark Knight earned so much money that it needs to push Harry Potter into next year in order to prevent the company's earnings from appearing imbalanced from 2008-2009. Unfortunately, decisions like this only hurt the fans. Warner Brothers even released a statement - an apology of sorts. But it is far from satisfying. For those of us who have been looking forward to this film for over a year, I suggest going back and re-reading the book in the meantime.
- A while back I discussed an upcoming WWII epic that is being directed by Spike Lee. Not to be outdone, fellow auteur Quentin Tarantino will release The Inglorious Bastards in June of 2009. The film centers on a group of Jewish-American soldiers dropped behind enemy lines in Germany with the sole purpose of terrorizing and brutally murdering Nazis. Brad Pitt is slated to take the leading role, with Eli Roth (of horror film fame), BJ Novak (of The Office fame), Simon Pegg (of Shaun of the Dead fame), and (most recently)...Mike Myers (?) rumored to be in supporting roles. If nothing else, the film will certainly be provocative in typical Tarantino fashion.
8.19.2008
Tropic Thunder
I went to see Tropic Thunder yesterday. Though not the funniest movie I have ever seen, I certainly enjoyed it. Its script is witty and entertaining. Some parts did seem a bit tedious. But, in the end, I got what I paid for: a few laughs.
The film has definitely been a lightning rod for criticism on a couple of socially sensitive issues (it's portrayal of mentally handicapped people as well as its portrayal of a white man who paint's his face black). Most of the film's harshest critics fail to recognize one crucial point: the film is a sustained and vehement satire of Hollywood (one LA Times review has noted this well). The question, then, is whether or not the satire is effective or if its means distract from its proclaimed ends.
***NOTE: A SMALL SPOILER BELOW***
The first 10 minutes of the movie is a string of faux-previews for films starring "Thunder's" leading men, as well as an outrageous energy drink/bar advertisement with one of the minor characters. This sequence is not only hilarious, it tells you from the outset that the film is coming out with guns blazing...and those guns are pointed at actors, producers, directors, screenwriters, and the whole film-making machine that is Tinseltown.
It is crucial, when watching the film, to keep this in mind. With that said, some of its satirical moments do feel like potshots. But let's not forget that this is a Ben Stiller movie, not the Coen brothers. If you are looking for nuance it won't likely be found. Downey, Jr's character is an impressive critique of the Daniel Day-Lewis/Al Pacino style of method acting in which the actor is assimilated into the persona they embody so deeply that they lose themselves entirely in the role. Interestingly, Downey himself is known to have been a serious method style actor and it is not far-fetched to say that he is critiquing himself as much as others.
This satire of method-acting encompasses both of the major points of outrage and criticism directed towards the film: Downey (with his portrayal of a white actor playing the part of an African-American soldier) and Stiller (with reference to his characters' earlier portrayal of a mentally handicapped farm boy). In both cases, the point seems to be in the fact that actors really do take themselves so seriously that they are often unable to see the absurdities which they create for the sake of a performance.
With the case of Stiller (which has received the most ire), there is a backhanded critique of how the Academy lauds Dustin Hoffman (for Rain Man) and Tom Hanks (for Forrest Gump) but not Sean Penn (for I am Sam). The quote which has probably created the most criticism comes, actually, from Downey who explains why Stillers' character didnt get an Oscar as opposed to Hoffman or Hanks: "You went full retard, man. Never go full retard."
It is not surprising, nor incomprehensible, that people representing both the Black community and the Mentally Handicapped community find elements of the film offensive. I would not suggest that this be ignored. The fact that the film is a satirical examination of Hollywood does not mean that there won't be collateral damage. But I don't think that the film is mean-spirited in its portrayal of either group. The intention of the humor and satire is always directed specifically at those involved in the film-making industry, not at a general demographic of people.
The film has its moments of sheer brilliance, and is definitely a humorous examination of people involved in Hollywood. The cameos are great. It is most certainly insensitive about the social issues. But often, this insensitivity seems to point towards the naivete of actors. A great example of this is how the film makes fun of Hollywood's obsession with child adoption. I have not, to this point, heard adoption agencies decrying the film. Though I am sure the same logic could be used as is being employed by other groups. At the end of the day, I enjoyed the film's riffs against Tinseltown. But I recognize that it will, in the end, leave many people offended for the ways in which this satire plays out. In a way, Tropic Thunder is akin to South Park in its parody of society: irreverent, bold, in-your-face. And, like South Park, it is not palatable for everyone.
(Rating: 3.75/5)
***
8.18.2008
"Tropic Thunder" Hype?
Update: Awards Daily thinks the performance is a magnet for Oscar (well...for the idyllic Oscar panel we all wish for...)
8.06.2008
Conor Oberst (self-titled)
4.2/5
Grace is Gone
Grace is Gone is an emotional story about a distant father trying to connect with his children after he learns of his wife's death in Iraq. Most of the movie centers on a road trip which the father - played exceptionally well by John Cusack - takes his two girls on in order to give them the awful news.
Its a difficult movie to watch, perhaps because it feels so authentically human. In the past year (or more) many movies have come out touching on the political issues surrounding the war: Lions for Lambs, Home of the Brave, In the Valley of Elah, etc. But few have been able to capture the personal side of the story without ending up on a soapbox. And many have failed for that very reason.
Grace is Gone is a simple, but poignant film about the ways in which absence and anxiety affect a family and how people attempt to cope with the tragic. I recommend it, particularly for Cusack's performance.
(Rating: 4.25/5)
*****
8.04.2008
The Month in Music: July
I haven’t done a review in a while, so with July having come and gone, I figured I’d do a little recap of the July releases that graced my ears.
Earlimart – Hymn and Her
Despite the cheesy wordplay title (which signifies a more active role for Ariana Murray), Hymn and Her is another fine release from the California duo that follows up last year’s decent album, Mentor Tormentor. My first Earlimart experience was hearing them open for Pedro the Lion at Zydeco in Birmingham and right away it was obvious the impact Elliott Smith had on the band. 2004’s Treble and Tremble was an excellent release but was basically an Elliott Smith tribute. The group is slowly but surely moving away from sounding like an Elliott Smith cover band and Hymn and Her is certainly their biggest departure to date, although maybe not as much as some would like. Hymn and Her is yet another consistent release for Earlimart, and while they may never shake the Elliott Smith comparisons, I find their albums very enjoyable but not spectacular listens.
Earlimart - "Song For..." [mp3 courtesy; Perfect Porridge]
The Hold Steady – Stay Positive
The follow up to 2006’s Boys and Girls in America (my ’06 album of the year) picks up right where Craig Finn and Co. left off. Fans of the group’s previous stuff will love Stay Positive but this album probably isn’t going to convert all those who don’t quite get The Hold Steady. Finn continues to write some of the most literate songs in rock and with Stay Positive, Finn uses his characters to tackle more adult issues years after their “Massive Nights” as teenagers and 20 somethings. Stay Positive is about holding true to the ideals that you had when you were younger. And for Finn, who is 36, he needs those reminders just as much as all of us. Musically, Stay Positive doesn’t really take much of a step forward although there are a few additions in the form of horns, a harpsichord, and even a talk box. Finn’s singing is better, albeit only slightly, but this is the voice of “America’s #1 Bar Band”, so what do you expect? Simplified down to its core, The Hold Steady is a pure rock group and songs off Stay Positive such as its title track as well as the brilliant closer “Slapped Actress” speak of the redemptive power of rock ‘n roll which, as Finn says, “played with the best intentions, it can be transcendent.” Craig Finn gets it and it’s safe to say that Stay Positive has progressed The Hold Steady from a “bar band” to one of the finest American Rock acts going today.
The Hold Steady - "Sequestered in Memphis" [mp3 courtesy; The Syndicate Blog]
Broken Social Scene Presents: Brendan Canning – Something For All of Us…
The second in a series of Broken Social Scene Presents albums features founding father and bassist Brendan Canning with his solo debut. Kevin Drew’s Spirt If… was very well received last year and basically sounded like another BSS album. Something For All of Us… is slightly different than Kevin Drew’s release, but doesn’t diverge too much from the Broken Social Scene sound. I haven’t really been able to get into this album although there are a few bright spots such as the title track and “Hit the Wall”. Personally, I’m more into the non-BSS Presents releases from band members such as Jason Collett’s album from earlier this year as well as the vastly underrated Apostle of Hustle, and oh yeah, Ms. Leslie Feist.
Brendan Canning - "Hit the Wall" [mp3 courtesy; The Yellow Stereo]
Wild Sweet Orange – We Have Cause to be Uneasy
The highly anticipated debut LP from Birmingham band Wild Sweet Orange finally hit stores this past Tuesday and may have even exceeded expectations. We Have Cause to Be Uneasy is a haunting look at growing up in the suburbs especially in the hyper-conservative South and is full of highly personal lyrics that Preston Lovinggood sings with chilling emotion. Starting your debut album (and first single) with the line “I saw ten dead dogs by the side of the road” is a rather morbid way to introduce yourself to the world, but “Ten Dead Dogs” sets the tone for an album chock full of tunes of suburban angst. Having heard most of the songs live, I was concerned that We Have Cause wouldn’t be able to capture the raw emotion and energy of the band, but the production is practically perfect and is something the group should be very proud of.
Wild Sweet Orange - "Ten Dead Dogs" [mp3 courtesy; The Yellow Stereo]
The Walkmen – You & Me
I’ve only been able to give the latest release from The Walkmen a couple listens, but so far I’ve been pretty impressed. My only experience with the band was the slightly overrated Bows & Arrows (although it did have one of 2004’s best songs in “The Rat”), however, You & Me was pre-released last week on Amie Street for $5 with all proceeds going to Memorial Sloan-Kettering Cancer Center so I decided to go ahead an get it. This is the bands 4th full length and after just a couple listens it wouldn’t surprise me if it ends up garnering their most favorable reviews yet.
The Walkmen - "In the New Year" [mp3 courtesy; The Yellow Stereo]
7.31.2008
Wild Sweet Orange: We Have Cause to Be Uneasy
4.3/5
Has rock lost its form? It may seem that way -- this summer we've been handed a bucket of mediocre records with too much hype. It may seem odd that one of the most genuine and enjoyable LPs comes from a small, yet long formed, upstart in Wild Sweet Orange. They've had the press, and have been on Letterman. Now we have the meat to match the marquee.
I've heard most of these songs a handful of times, but their appearance on We Have Cause... gives them a new wash -- something which most first major-release albums don't have (especially when transitioning from EPs). And you know what? These guys are talented: they do many things so well, and this album blends so well, yet spans beyond just one particular sound. Think the lyrics and feel of The Hold Steady (but much more thoughtful), without a marriage to one genre.
The Washington Post once said WSO's lead, Preston Lovinggood, was 'an, effective, uncontrolled John Mayer'... or something to that effect. It might have been the most acidic complement Lovinggood ever received (don't blame him). His vocal talent is casual, raw (at times), and humbly strong; its a very strong debut.
The only critical remark: The first 5 minutes of "Aretha's Gold" are the low point of the album, but the rest is too sound to throw the baby out with the bath.
Visit their website at www.wildsweetmusic.com for tour dates, etc.
7.19.2008
The Dark Knight (a second look)...
I am inclined to agree wholeheartedly with Matt's assessment of the film and just leave my comments at that...but its just too damn good not to talk about!
First, it is hard to imagine that such an adaptation would have ever been possible after Batman and Robin all but destroyed the franchise 10+ years ago with its campy, poorly written, poorly cast, and horribly acted portrayal of this icon. To be honest, even the darker, more gritty Tim Burton attempts (Batman & Batman Returns) seemed to reflect more of Burton's personality than a genuine attempt at bringing the spirit of Batman to the big screen.
In Batman Begins, Christopher Nolan didn't merely resurrect a comatose and embarassing franchise...he did what the previous directors could not: attempt an authentic adaptation, faithful to the world and characters of the original comic books without letting artistic license become the sole guiding force. The casting was gutsy of both lead and supporting parts (Christian Bale, mind you, was no leading man at the time). But, much like the recent revival of the 007 series using Daniel Craig, Christian Bale present us with a more complex, tortured, and ultimately human hero...which the previous installments attempted to white-wash with an assumed moral superiority, banal one-liners and sexual innuendo.
But Batman Begins was a setup film. (Don't get me wrong, I loved it. But it sets the stage for The Dark Knight.) It provided the socio-psychological background of a dark, morally ambiguous world where great heroes create even greater villains. In this regard, The Dark Knight stands as the best film in the franchise and perhaps the best comic book adaptation to date.
Enter another bit of gutsy casting on Nolan's part: Heath Ledger, who supposedly spent a month locked in a hotel room trying to "become" the Joker. He worked on posture, diction, mannerisms, and even psychological disposition. He read only the early comic books in which the Joker first appeared and kept a journal as the Joker. If this sounds a little over-the-top; well, just go see the movie. Ledger's performance is disturbing, paralyzing, and genuine: reminiscent of Daniel Day-Lewis's portrayal of Daniel Plainview earlier this year. If The Dark Knight is the best comic book adaptation, then it is due in large part to the fact that Ledger is the best villain to date. There is buzz of an Oscar nomination for his role. I am not sure if a comic book character can pull down an Oscar, but if he does it better be for Best Actor...Ledger is NOT in a supporting role in this film. He is at the helm. In fact, I agree with Matt's assessment. Bale's performance is mediocre, at best. And the only thing that saved me from getting annoyed at his growling "bat-voice" was the fact that I was so preoccupied with the Joker.
Nolan said that his inspiration for this film comes from the 1995 Pacino/Deniro movie Heat. This makes sense to me. In The Dark Knight, as in Heat, we have two diametrically opposed characters who nevertheless require the other person for their own existence in a self-perpetuating cycle. The moral ambiguity of the one is often reflected by the other, though they stand on opposite sides of the law. The relationship and psychology is complex. The righteousness of the one and the wickedness of the other are often blurred.
All in all, The Dark Knight has set the bar incredibly high for comic book adaptations which so often settle for cliche. As matt pointed out, this film proves that blockbusters can be eye-popping and cerebral at the same time...and make just as much money ($60m opening night?!). Go and see it. Nothing better will come to your Megaplex this summer.
(4.75/5; A great script, a great cast, and perhaps one of the greatest portrayals of a villain in the history of cinema. Hyperbole? Maybe. But try to argue against it once you've seen the film).
7.18.2008
Review: The Dark Knight
4.6/5
In the natural state, said Rousseau, a person's actions and words were bound by conscious--thus the evolution of the social contract began. This social contract dictates behavior, the exchange of goods, politics, and love. There is no doubt that Christopher Nolan is aware of this, one way or another, and brings it to the audience on a level anyone can seem to understand. In The Dark Knight one gets a glimpse into a creative question: can there be one person who fails to live by this social contract, even a corrupted one, as a common criminal does? And if one person can succeed in this "unnatural" state, can they bring all others down to their level? Nolan's brilliant writing and direction, combined with a Heath Ledger performance that surpasses all his others by a thick amount, bring this enterprise to life with vigor.
A taxing 2.5 hours might stagger any superhero movie, and sober an audience through exhaustion of patience. But The Dark Knight does no such thing, yet leaves you exhausted of mind, and bleak of heart, when you exit the theatre. It sobers with it's sheer darkness, despair, and redemption which only comes after a deep chasm of anguish. It is, by far, the most creative and thoughtful superhero movie to come to any sort of media. Trust me, there was ample opportunity to take the easy, kitsch, road in the making of this film. For the most part, Nolan did it right.
This movie garnered quite a bit of hype--but it is justified. Ledger is complex, interesting, and balanced. The writing is top notch for the genre. Score is dead-on, and cinematography is....never mind, we're still talking about Batman here. What does go wrong, is a Christian Bale who takes his performance for granted, and a couple of not-so-subtle shots at current hot-topic political issues which do not need to be in place, no matter if their message is correct.
I usually hate superhero movies--they often push the audience member to such a state that stupefies them with guns, explosions, sex, and quip lines. This one, for the most part, makes you think--and the audiences seem to love the change of pace. Oh, and when did Aaron Eckhart make the transition to a complete actor?
The Watchmen...
As an avid fan of graphic novels and comic books, I have a love-hate relationship with their translation into cinema. With Marvel Entertainment Group at the helm of its own production now (Iron Man, Hulk etc) the quality of the films as well as the faithfulness to the comics has increased greatly. With graphic novels it is a little more difficult. Story lines are often more convoluted and...well....graphic. While I thought V for Vendetta and 300 were strong adaptations, Wanted failed miserably.
So I am quite curious to see how "the most popular graphic novel of all time" fares on the big screen. The Watchmen, set for release in March of next year, has just released its trailer. The cast is intriguing and with Zac Snyder - director of 300 - calling the shots, I am optimistic .
Check out the trailer...or, better yet, go read the graphic novel.
7.15.2008
Feist on Sesame Street
For those of us not watching Sesame Street on a regular basis, the Feist appearance has been making its way across the internet in the last few days. I adore Leslie Feist and am pretty much in love with her and this is basically the definition of adorable. Just watch her kiddy version of "1 2 3 4" and try not to smile. I dare you.
7.08.2008
Beck: Modern Guilt
3.8/5
In a recent interview with Rolling Stone producer/DJ Danger Mouse rejected a morning trip to Starbucks, because he said the caffeine high was "too easy". Of course, the genius who put together the Beatles' White Album and Jay-Z's The Black Album produced Beck's latest Modern Guilt which, upon first listen, appears to be a collaboration between Beck's previous work, and Danger Mouse's prowess.
The album clearly states Beck's previous work as forefront ("Volcano" sounds like it belonged on Sea Change, but extends beyond it). Yet, for something which is a good while past Beck's latest album, this could have progressed a little more. It's progressive but safe--if that makes since; like a long overdue minimum wage increase from Congress. Yet Beck's guitar tones, vocals, and feel for the album make it interesting--and something which is, well...Beck; but don't confuse it for Odelay.
The album is good, and worth a good listen--but take my advice; it would have been better if Danger Mouse took a cup of coffee every once in a while.
Changeling
Clint Eastwood also has a potential Oscar contender, staring media hog Jolie, in Changeling, so be on the look out for this film -- it looks good. It debuted at Cannes, and received a lot of buzz. Below is a clipped video of interviews, clips, and Cannes footage.
7.07.2008
Mid-2008 Music Awards
In Bruges
I am not a fan of Colin Farrell. His films are rarely interesting and his acting often reflects a kind of indifference to the craft.
And then there was In Bruges: an indie flick that came out earlier in the year and was met with some critical, though little box-office, success. The movie is about two hitmen - one veteran (Brendan Gleeson) and one rookie (Farrell) - who are sent by their boss (Ralph Fiennes) to Bruges after a botched job.
The film is beautifully abrasive. It deals in stark contrasts: first, there is the contrast between Gleeson's character and Farrell's. The former being patient, somewhat aloof, and content to get lost in the beauty and history of the quaint Medieval tourist trap that is Bruges, Belgium. The latter lacking patience, tact, restraint and even a modicum of interest in the setting in which he is forced to retreat. Second, there is the broader contrast of the film's dark plot within a vibrant and aesthetic setting. Though the death-count of the film is under ten (small for today's standards), it still comes across as an incredibly brutal movie...mostly due to the fact that its violence is highlighted by the peaceful, beautiful, and almost mundane character of the setting. The film also boasts more than one F-bomb per minute.
And back to Farrell: he shows great emotive range and dramatic nuance. His performance is authentic and carries the film. Gleeson is a strong supporting role, as always, and Fiennes character is darkly humorous (though his prosthetic teeth - they must be prosthetic?! - are somewhat distracting).
It is not a film for those with delicate dispositions. But if you can stand the brutality of the violence and the harshness of the language you may find that In Bruges is a surprising film with insights into the often tortured and hapless fate of the human soul. The film also reunites 3 different Harry Potter actors, which is somewhat amusing.
(4/5, for a creative and refreshing film where the acting and plot work seamlessly together.)
