A review of three Colin Farrells and two Brendan Gleesons or Ralph Fienness

Trishank Karthik Kuppusamy
5 min readMar 26, 2023

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I was recently stuck on a plane for nearly an entire day, and so I was forced to watch four films (besides reading a little Wolfram on my iPad) in order not to go mad. Oddly enough, the airplane was stocked with more Colin Farrell films than you would expect (frequentist-statistically speaking).

In Bruges (2008)

I only watched In Bruges in order to watch the next film, which I was misinformed to be some sort of sequel to this one. Like Get Out, I’ve only ever seen this film in bits and pieces on cable TV, and so never really understood what a great work of dark comedy, and modern tragedy it was. Ostensibly, it is a film about two assassins hiding out in Bruges, Belgium, while they await instructions from their owner. The older one loves all the history and architecture, while the younger one is bored out of his mind. Little do they know why the owner actually sent them there, but they would find out as soon as we do. The bond between Colin Farrell (who is actually a better actor than I had realised: there is a scene where he tells the story only with his eyes) and Brendan Gleeson is like that of two brothers who have known each other their whole lives. I had also not realised what an absolute fiend Ralph Fiennes actually looked like: what a splendid performance, especially during his introduction. Suffice it to say that it is one of the greatest films ever made, and few could ever aspire to it. The film is full of politically incorrect humour that is a product of its time, and would not survive today’s climate: even the ending makes you laugh or gasp out loud (which I did multiple times during the flight; there is, for an example, an absolutely inappropriate bit of comedy during a shootout). Part of the genius is that, at least in the first half an hour or so, the film seems much ado about nothing (like Don DeLillo’s “White Noise”), and yet enjoyable. Well done, Martin McDonagh.

The Banshees of Inisherin (2002)

Then, there is The Banshees of Inisherin, directed by the same McDonagh, and featuring the same two actors, Farrell and Gleeson, some 14 years later. Both actors have clearly aged (one might say one better than the other). It is no literal sequel, and the dynamic here is completely different, to say to the least. Here, one friend suddenly starts hating the other, and in the end, the tables turn, where each time the hate becomes deadly to someone. The “funny” thing is that the reason for Gleeson’s character to hate Farrell’s simple, naïve character is frivolous to say the least: he wants to die in infamy, like Beethoven or Mozart, and so doesn’t want to waste time with simpleton “fools”, but yet doesn’t even realise which centuries composers lived in, and chooses to live on a dead-end island instead of moving to a city (unlike the smartest character in the whole play, and like some idiots we might know on Twitter). In an understandable turns of events, each character simply drunk to numb their pain and boredom. All in all, I had no sympathy for this film, and it was a dreadful waste of time (which I suppose was half the point of the story), even given the devastatingly beautiful island off of Ireland. It was an exercise proving yet again how great artists have a hard time outdoing themselves (or maybe they weren’t trying to, but whom else are we going to compare themselves to?). It was one of the slowest, most depressing films I have ever had the misfortune to watch. An Oscar-worthy material only in terms of production, but not in terms of story.

The Menu (2002)

In The Menu, we run into our fellow fiend Fiennes again, although a lot more aged this time, and thus a lot less (but still) intimidating. I have no better compliments for this film other than: what a Palahniukesque level of satire of the pretentious, modern culinary scene. My only criticism is that the film fails to criticise chefs (such as even the inimitably not-so-attractive yet charming Gordon Ramsay) for producing this miserable dining culture in the first place. Here, Anya Taylor-Joy outshines Fiennes in acting in playing the impossibly attractive yet unimpressed diner — a far harder feat than cooking than it sounds.

The Lobster (2015)

I have no words for the misfortune that is The Lobster other than to avoid it at all costs. What an incredible waste of time written and produced by what must have been a bunch of misanthropes. What happened to Farrell that he decided to specialise in becoming the loser in such useless films? I suppose every great artist (like Rachel Weisz) must take their risks, but this was an especially bad one. The Menu was at least funny, which The Lobster was apparently trying desperately not to be. I was disappointed I actually watched this through (multiple sleeps, to be fair, despite) the irredeemable end. AVOID AT ALL COSTS.

I had also planned to watch Nope and Everything Everywhere All At Once, but ran out of time. I hope the reader forgives me, but there are only so many films a man can watch on a plane without going crazy. (Also, thanks to Apple Music for keeping me company during a sleepless jet lag of a morning.)

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Trishank Karthik Kuppusamy
Trishank Karthik Kuppusamy

Written by Trishank Karthik Kuppusamy

Amateur computer scientist, RWRI alumnus & instructor, physical culturist.

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