Midway through John Michael McDonagh’s The Guard, an American FBI agent tells the main character, “I can’t tell whether you’re really dumb or really smart.” A similar observation can be made about Brendan Gleeson, who plays the character (though I have no doubt he’s intelligent). Gleeson’s performance is so natural and devoid of affectation, it’s difficult to tell whether it’s the product of hard work or instinct. Regardless of how Gleeson approaches acting, The Guard is a terrific black comedy, one with unlikely chemistry between two of the most likable actors working today. Like the character Gleeson portrays, the movie’s lazy charm slowly becomes infectious.
Gleeson is Sergeant Gerry Boyle, a cop in western Ireland who is unethical to the core. He happily steals drugs and drinks on the job, yet has a natural talent for police work. When bodies appear in his sleepy town, including that of his former partner, Boyle takes his time with the investigation. The murders attract the attention of FBI Agent Wendell Everett (Don Cheadle), as they are related to a ring of drug traffickers. Led by Clive (Mark Strong), an Englishman with little patience for anything, the traffickers share Boyle’s lackadaisical approach as they prepare the deal. Among other things, Boyle’s racism infuriates and Everett, but they work together well once Clive and the others present a real threat.
McDonagh, brother of Martin who wrote/directed In Bruges, weaves irreverent humor throughout his low-key character study. Sure, the characters speak with thick accents and make esoteric jokes about Irish geography, but the chemistry transcends nationality. At its core, The Guard is a buddy comedy, and the pairing of Gleeson and Cheadle is a masterstroke. They never quite like or respect one another, though they develop reluctant admiration once they realize the other is a talented policeman. Cheadle correctly never goes over the top, and his fish-out-of-water sub-plot is the perfect point of entry for international audiences. Even without the buddy storyline, the movie has little scenes that effortlessly combine emotion and comedy. One confrontation in particular, between Boyle and Liam (David Wilmot), is so well-acted and perfectly paced that it could be its own short film.
As most thrillers do, The Guard ends with a shoot-out. Because McDonagh takes his time with the characters, there is an emotional investment in its outcome. The scene is uncommonly well-crafted; expository shots lay out the criminals in relation to the cops, so we have an early understanding of how the skirmish might unfold. There are few surprises, but McDonagh’s patience pays off insofar that the violence never feels chaotic. This is stark contrast from a movie like 30 Minutes or Less, where the action is mostly incomprehensible. In a movie that does not require choreographed violence to work, it’s a pleasant surprise to discover the summer’s strongest action sequence. And unlike summer blockbusters where cowboys save the world or a superhero vanquishes a Nazi, The Guard has the confidence to feature an unexpectedly tender scene between the hero and his mother.
Previously in Another Movie Guy?:
- 9/16: Movie Review: "The Interrupters."
- 9/16: Movie Review: "Straw Dogs."
- 8/31: Movie Review: "The Debt."
- 8/26: Movie Review: "Pianomania."
- 8/26: Movie Review: "Brighton Rock."
- 8/19: Movie Review: "The Names of Love."
- 8/19: Movie Review: "Attack the Block."
- 8/12: Movie Review: "30 Minutes or Less."
- 8/5: Movie Review: "The Devil's Double."
- 8/5: "HE SAID" Movie Review: "The Future."
God loves a cheerful giver.
Great review. One thing you didn't remark on is the film's cinematographic eccentricities. Particularly the scene where Cheadle was running on the beach - I felt like it was something from a 1970s cop film. Other times, the kinds of angles and lenses of, say, the Long Good Friday, or even the Italian Job, would snake their way in. This was far funnier than it had any right to be.