Actually, now that I think of it, I don't really have all that much to write about either In Bruges or Bored to Death. Or even a reason to lump them into a single post, aside from the fact that both ultimately proved to be disapointing.
In Bruges actually has a lot going for it. It's an unusual take on a popular cinematic motif - hitmen. It shows them in-between assignments, as they try to make the best of their downtime in a seemingly random location, awaiting further instructions from their employer. The performances are good, and the mood is spot-on (the movie actually plays like one of those quaint British small-town comedies, providing a cool contrast to its protagonists' profession), which makes the final, ridiculous misstep all the more aggravating. I won't reveal any plot points, suffice to say that in the climactic scene one of the main characters makes a certain distinction - whether for comedic or dramatic effect, I'm not even sure - which is not only tasteless in and of itself, but also makes a significant portion of the movie in retrospect seem like the buildup to a cheap gimmick. And you're handed this turd blossom literally moments before the end credits roll, so it essentially remains your last impression.
As for Bored to Death, it doesn't stumble so badly, but that's probably because to do so would constitute some sort of statement, and the show is too intent on charting the bland side of quirkiness for that sort of thing. The characters are about as removed from reality as the Bluth family, but they're mired in aimless Seinfeldian tedium, punctuated by Jason Schwartzman* repeating what some other character just said in the earnest monotone of a stoner's revelation. The premise... Schwartzman decides to advertise himself as a private detective on craigslist. No idea why, as no reason is given. It's not for money - that he gets for writing... something for his millionnaire... friend, I guess. Or boss who's really into micro-managing freelance writers. Oh, and his girlfriend left him, cause he smokes too much pot and drinks too much white wine. I'm at episode three, and it's about Jim Jarmusch giving him his new script to look over (he's a fan, y'know). It's about Frank O'Hara. But Schwartzman loses it, so Jarmusch decides to go with Charlie Kaufmann instead. Yeah. And it's a good thing namedropping and cameos are such strong plot devices, because absolutely nothing more of note happens throughout the entire episode. I suppose, given the title, that might have actually been the idea, but I've seen good (Mad Men), or even decent (Hung) slow-paced shows about nothing much at all, and Bored to Death isn't one of them.
* full disclosure: every time I saw him on the screen I wanted to punch him in the face. I'm not proud of it, but cmon.
In Bruges actually has a lot going for it. It's an unusual take on a popular cinematic motif - hitmen. It shows them in-between assignments, as they try to make the best of their downtime in a seemingly random location, awaiting further instructions from their employer. The performances are good, and the mood is spot-on (the movie actually plays like one of those quaint British small-town comedies, providing a cool contrast to its protagonists' profession), which makes the final, ridiculous misstep all the more aggravating. I won't reveal any plot points, suffice to say that in the climactic scene one of the main characters makes a certain distinction - whether for comedic or dramatic effect, I'm not even sure - which is not only tasteless in and of itself, but also makes a significant portion of the movie in retrospect seem like the buildup to a cheap gimmick. And you're handed this turd blossom literally moments before the end credits roll, so it essentially remains your last impression.
As for Bored to Death, it doesn't stumble so badly, but that's probably because to do so would constitute some sort of statement, and the show is too intent on charting the bland side of quirkiness for that sort of thing. The characters are about as removed from reality as the Bluth family, but they're mired in aimless Seinfeldian tedium, punctuated by Jason Schwartzman* repeating what some other character just said in the earnest monotone of a stoner's revelation. The premise... Schwartzman decides to advertise himself as a private detective on craigslist. No idea why, as no reason is given. It's not for money - that he gets for writing... something for his millionnaire... friend, I guess. Or boss who's really into micro-managing freelance writers. Oh, and his girlfriend left him, cause he smokes too much pot and drinks too much white wine. I'm at episode three, and it's about Jim Jarmusch giving him his new script to look over (he's a fan, y'know). It's about Frank O'Hara. But Schwartzman loses it, so Jarmusch decides to go with Charlie Kaufmann instead. Yeah. And it's a good thing namedropping and cameos are such strong plot devices, because absolutely nothing more of note happens throughout the entire episode. I suppose, given the title, that might have actually been the idea, but I've seen good (Mad Men), or even decent (Hung) slow-paced shows about nothing much at all, and Bored to Death isn't one of them.
* full disclosure: every time I saw him on the screen I wanted to punch him in the face. I'm not proud of it, but cmon.
No comments:
Post a Comment