The Guard Review
I’m not quite sure what to make of this film. I’m not sure the filmmaker knew what to make of it either. It’s a bit of a muddle. But some nicely scripted moments and a lovely performance from Brendan Gleeson in the lead role ensure it’s an entertaining muddle nonetheless.
This is writer/director John Michael McDonagh’s first feature-length film and it occasionally shows, perhaps needing a little more subtlety and maturity. But what it lacks in sophistication it makes up for in spades with honest, dark comedy and a bit of Irish charm.
McDonagh’s brother Martin is the man behind In Bruges, which all rival siblings will tell you shouldn’t really be relevant. But in this case it is – the films have a very similar feel and style. Like In Bruges, The Guard depicts grey-toned, low-key action with much wry, cynical humour, bits of uncompromising brutality, and moments of just plain silliness. It also features Gleeson, perfectly cast as loveably roguish policeman Gerry Boyle living a mundane and pettishly rebellious existence somewhere in the middle of Irish nowhere.
What’s different is the introduction of Hollywood-style FBI character Wendell Everett, played by Don Cheedle, who shows up to catch himself some drug smugglers, turning the action volume up to 11 for Mr Boyle. And there’s something a bit odd about that. Combined with a few slightly surreal asides depicting wisecracking drug smugglers philosophising amongst themselves à la Guy Richie, it all just hangs together slightly strangely.
It seems as if the intention was to make the relationship between the two characters the premise of the film, the source of most of the hilarity and a fair few feel-good moments. But doesn’t quite gel, and I found myself enjoying Boyle’s moments alone and the subplots following the drug smugglers and local townspeople a lot more. Hence the muddle.
McDonagh occasionally relies on slightly clunky plot lines to round out Boyle’s character – scenes with his mother in a rest home, for example, seem a rather obvious way to show he’s really a sweetheart (‘see, he loves his mam’). But the performances pull it together, providing moments that are genuinely touching, and a lot of this content is handled with a matter-of-factness that’s extremely appealing. It’s not often one watches a middle-aged man romping with two prostitutes and thinks ‘awww’.
It’s nicely presented too, with well-framed cinematography and some rather stylish set design (Boyle’s retro living room made me drool). Perfectly paced, clever at times and lots of fun, it all hints at McDonagh’s potential to produce great stuff. And with The Guard he’s made a good start.
Kathy Alys