The Guard (2011)

Here’s an understatement: Brendan Gleeson is one of the most reliable and enjoyable actors working today. I have trouble recalling a film he didn’t steal. Needless to say, he kills in The Guard, written and directed by John Michael McDonagh. Gleeson stars as Boyle, the outrageously politically-incorrect policeman working in a small Irish village; he makes no secret of his predilection for scarlet women and recreational drug use, but he’s left well enough alone because dammit he gets the job done. 

When a dead body linked to a drug smuggling ring winds up in Boyle’s jurisdiction, American FBI agent Everett (Don Cheadle) turns up to take over the case. The fed soon discovers, however, he’ll need the help of the wily – and kinda racist – Irishman to take on the villainous drug dealers and murderers (the pitch-perfect trio of Mark Strong, Liam Cunningham and David Wilmot).

Yes, the premise screams Lethal Weapon meets Hot Fuzz (which was itself something of a Lethal Weapon spoof), but McDonagh knows precisely what he’s doing here. His script is razor sharp; almost every line a killer. Gleeson and Cheadle’s charming odd couple chemistry is good enough to forgive their clichéd coupling. Gleeson’s performance, in fact, is something of a wonder; he fully embraces his character’s increasing outrageousness, yet never makes him seem unbelievable (him sipping a milkshake while staring down one of the killers is a highlight).

The film falters when it gets into the somber philosophising that was done so much better in McDonough’s brother Martin’s film In Bruges. Still, that movie was primarily a drama, and this one is absolutely a comedy. One of the funniest of the year, no question.

4/5

Check out Simon’s other reviews here.

The premise of John Michael McDonagh’s Irish comedy crime caper The Guard is far from original: the unorthodox Sergeant Gerry Boyle, played brilliantly by Brendan Gleeson, is teamed with by-the-book FBI agent Wendell Everett (Don Cheadle) to investigate an international drug smuggling ring. It is a classic retelling of the smart cop/stupid criminal story. Being the feature directorial debut by McDonagh, brother of Martin (In Bruges), makes this film more impressive; as is the fact that McDonagh also wrote the screenplay, containing a strong mix of action and dry, laugh out loud dialogue delivered perfectly by the capable cast.

While the plot may be simplistic, the execution is slick and entertaining. Gleeson and Cheadle are supported by a strong cast, especially Mark Strong as the drug-ring leader, a small role on screen but with some of the best dialogue. It would be near on impossible not to think of Martin’s divine In Bruges while watching his brother, Michael’s, handiwork. Though unfair to compare the two, The Guard has hints of the biting humour which made In Bruges such a hit with audiences. No doubt upon a wider release, that same audience will delight in this fresh, fast paced offering from another McDonagh sibling.

The Guard feels brighter than most crime comedies, both visually and in tone. This is predominantly thanks to Gleeson’s larger than life presence on screen, and also a result of director McDonagh’s desire to channel directors John Ford and Preston Sturges, creating a biting satire and fulfilling action film in the process. What holds The Guard back from entering Rush Hour territory (the film brought to mind during the heated, colourful exchanges between Gleeson and Cheadle) is the realism stitched into the fabric of this film. While the characters and situations are heightened above everyday life, their reactions and the outcomes for all involved are believable.

The Guard is a combination of a strong screenplay and cast, cleverly crafted by McDonagh to produce a polished and punchy crime comedy.

3.5/5