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The Guard Blu-ray offers solid video and audio in this overall recommended Blu-ray release
Sergeant Gerry Boyle is an eccentric small-town cop with a confrontational and crass personality and a subversive sense of humor. A longtime policeman in County Galway, Boyle is a maverick with his own moral code. He has seen enough of the world to know there isn't much to it and has had plenty of time to think about it.
For more about The Guard and the The Guard Blu-ray release, see the The Guard Blu-ray Review published by Martin Liebman on December 16, 2011 where this Blu-ray release scored 3.5 out of 5.
When a movie literally begins with blaring music and the words "fu---n' posers" being screamed out of the speakers, it tends to catch one's attention.
It also sets a particular tone, a tone that says the movie is very likely to be hard but at the same time light and funny, serious but at the same time
not so much. In essence, it seems to say "playful but dangerous and a little colorfully off-kilter," which is definitely a nice way to describe The
Guard, an ultra-funny and very different kind of take on the old Buddy Cop film that sees Brendan Gleeson team up with Don Cheadle where
genre clichés try desperately to work their way into the plot but are turned on their heads and overwhelmed by the lead character at every
opportunity. Absurd banter, stereotyping,
unorthodox police work, a strangely alluring different sort of cadence, and oh yes, something-or-another about a drug deal are amongst the many,
varied types of genre staple elements that work their way into the movie but that play with a readily-evident different sort of vibe, all of it working
because
of Gleeson's amazing performance that allows the script and story to go every which way towards its resolution while still maintaining excellent balance
and painting the portrait of one of the more unique and somewhat mysterious characters cinema has seen in quite some time.
Boyle at work.
Irish Police Sergeant Gerry Boyle (Gleeson) is up to his shoe soles in work. In other words, he's not all that interested in upholding the law and
performing the
various duties his uniform demands of him. He demonstrates a complete disregard for his profession, choosing to allow things to play out before
inserting himself into the situation, and then, even, blazing his own, unique path towards the process of law enforcement and detective work. When
his small little town is turned upside down and becomes an epicenter for murder and drug running, he's forced to pair up with a Dublin cop, Aidan
McBride (Rory Keenan), who clashes with his unorthodox methods and verbal frankness, which come to a head when they investigate a ritualistic
murder that leaves them both stumped, where McBride can only think of Fellini and Boyle chaotically mishandles evidence. Matters are further
complicated
when an American FBI agent (is he from Langley? Or is it Quantico?), Wendell Everett (Don Cheadle), shows up wanting answers and the
cooperation of the local police force. Of course, he
didn't have someone like Boyle in mind. It turns out Boyle's corpse is one of the drug runners Everett's been looking for. That makes his job both
easier
and
more difficult, and Everett's investigation is about to get a whole lot more Irish and definitely quite a bit more than he bargained for
when he must pair up with the tactless, singleminded, and sloppy Boyle to crack the case.
The Guard makes use of genre staples like drug running and murder to advance its plot, but truly, those things matter little in the grand
scheme of things. This is better thought of as the Brendan Gleeson show; the movie revolves around him, and not vice versa. The plot is merely a
device to advance the development of a wonderfully dynamic character, a character that's exciting and original and who mixes his own brand of
police work with a naiveté and shocking lack of tact in everything he does. He nonchalantly watches as a speeding car goes by, barely raises an
eyebrow when it crashes, and meticulously and indifferently searches the (surprisingly intact and bloodless) bodies for anything he may find of use,
illicit or otherwise. He either obtusely, deliberately, or sincerely questions Everett about the racial makeup of drug dealers (aren't they all black
lads?)
and Everett's own upbringing (did you grow up in the projects?). He happily engages in sexual encounters with prostitutes, slips his dying mother a
flask full of something undoubtedly strong when nobody's looking at the nursing home, and generally goes about speaking his mind and doing things
his own way with complete disregard for everyone and everything, taking stereotypes as absolutes and dismissing anyone and anything that doesn't
meet his standards, his own beliefs, or his own way of conducting business, both official and pleasure. The beauty of the movie is that it's never
quite clear whether he's just that insensitive and frank, or whether he's truly unaware of how to act around other people, which may very well be
the case considering an admission that he once traveled to Disney World alone, not to mention his many rendezvous with women of ill repute.
Gleeson's command of the character is uncanny; he plays it so
straight, so serious, that it's almost impossible to reach underneath the surface, pull back the façade, and see what's really in there, which is why
the character is so completely fascinating. Add in his
everyman appearance -- he's anything but a Bruce Willis type -- and this is one of the most interesting, unique, and complex characters to come
around in a good long while.
With that in mind, the movie doesn't really have a standard rhythm. It moves along at Boyle's pace, because it's more concerned with advancing
his character rather than its otherwise generic plot. And that's absolutely the right choice to make. Gleeson's Boyle is so far removed from the
normal cinema character that he's going to be the showpiece anyway, and making him, rather than other elements that have been seen a hundred
times before in other Cop/Drug movies, the focus is what elevates the movie to greater heights. His performance and the character's
mannerisms, dialect, thoughts, and actions are so wonderfully conveyed that the movie will no doubt plaster a smile on the viewer's face from the
outset, a
smile that's sure to last at least the rest of the day. Gleeson's uncanny ability to play his part as tender, rude, funny, and serious -- often all at
once,
and sometimes, even all indistinguishable one from the other -- is easily the movie's finest asset. Sure Don Cheadle is very good as
Boyle's foil,
yes the direction and cinematography are top-notch, and for sure the ending action shootout is nicely staged, but the movie belongs to Gleeson and
his
character alone. It never strays from him, it never looks or feels like anything but his movie. It takes much skill on both sides of the camera to
make a
movie that's so singularly focused on the exploits of one character and work with only a casual regard for what's happening elsewhere, but The
Guard does just that. And considering that everything
else in the movie is done quite well, too, and the whole thing is a testament to Gleeson's performance and John Michael McDonagh's script that a
larger-than-life character
can completely dominate a movie that's otherwise still of a fairly high quality in all of its ancillary elements which remain important here, but are
clearly and rightly pushed into the background in favor of one of the finest performances of 2011.
The Guard isn't the nicest-looking film ever to grace a Blu-ray disc, but Sony's 1080p transfer is at least stable and well above average. The
movie sometimes takes on a flat, soft, and smeary appearance, though none appear to any absolutely detrimental extent. Colors are steady and true,
though the palette does warm up on occasion. Still, brighter colors -- the yellow markings on a police car, an orange VW Beetle, and the green Irish
countryside -- all look quite good. Blacks are sturdy, but not always perfect. A few scenes border on crush, a few scenes see blacks go a little gray, and
in others blacks play nicely together, such as when a black police jacket refuses to melt into a nighttime backdrop. Fine detail is solid, but unspectacular
for a modern Blu-ray image. Ireland's greenery sometimes looks more smeary than it does distinct down at the nitty-gritty level of individual grasses
and leaves. Some other outdoor elements -- stone building façades, for example -- look fairly complex and realistic, but not to the same level of
excellence as may be seen on the format's top titles. Facial and clothing textures range from subpar to excellent; a scene featuring Boyle and his
mother on an outdoor bench early in the film is one of the movie's best in terms of excellent details and the yielding of a strong film-like texture. Grain is
present, but so too is the occasional sprinkling of noise. Banding and blocking are minimal, and the image is expectedly free of any dirt, debris, or other
damage. This isn't Sony's nicest looking transfer, but it definitely gets the job done and settles in at a cut above format-average fare.
The Guard's DTS-HD MA 5.1 lossless soundtrack is neither superior nor inferior. It's pleasantly above-average, though it's not exactly in the
same league as some of Sony's finer audio presentations. The track makes fine use of external ambient elements; a chilly wind, noisy seagulls, and
other mood-critical and location-specific effects are nicely integrated into the track. Additional minor effects -- the shifting of a heavy jacket worn by the
portly Gleeson or the subtle feedback of a microphone as heard the first time Everett appears in the movie -- are also realistically delivered. Music
playback
is adequate, yielding with a fair sense of space, solid clarity, and a positive low end support element. Gunfire is never ultra-realistic, and ranges from
poor to average in intensity. A few shots from a revolver in chapter four are terribly weak, but the film's end shootout, that includes a rattly AK-pattern
weapon, are more full-bodied and sonically deadly. The track also does a nice job of making sure that shots and subsequent impacts are heard at various
places around the listening area. Dialogue, no surprise, is clear and distortion-free throughout. This isn't a demo worthy track, but it gets the job done
nicely enough in most instances.
The Guard contains a nice little assortment of extras, including an audio commentary, a short film, and lots of extra footage.
Audio Commentary: Director John Michael McDonagh and Actors Don Cheadle & Brendan Gleeson deliver a light and entertaining
commentary that's a nice, witty compliment to the movie. It's never much for the serious side of things, a tone that's established early on and
remains through to the end. Insights are more anecdotal than technical, though of course the latter certainly comes into play from time to time.
Fans of the movie will want to give this one a listen.
Making of The Guard (1080p, 19:21): This supplement features some cast and crew insights into the movie (including their
thoughts on the end) and raw on-set, behind-the-scenes footage.
The Second Death (480p, DD 2.0, 11:32): A short film written and directed by John Michael McDonagh that was the template for
The Guard.
Outtakes (480p, 3:05).
Q&A with Actors Don Cheadle, Brendan Gleeson and Director John Michael McDonagh (480p, 18:09).
Deleted Scenes (480p, 6:07): Boyle has Champagne with Prostitutes, Everett Tries to Clear the Air Between Boyle and Stanton,
and Boyle with Gabriela.
Extended & Alternate Scenes (480p, 18:37): Boyle and McBride Discovering the Body, Boyle and McBride in the Office, Interrogation
of Billy Devaney, Boyle with Oleyuwo 'Bourbon,' Boyle with Gabriela, Boyle and Everett Have Breakfast, Boyle Walking with Prostitutes, Boyle and
Everett in the Bar, Boyle with Eugene on the Bog, Boyle vs. Sheehy at Eddie Rocket's, Boyle with His Mother in Bar, and Boyle vs. O'Leary in
Boyle's Home.
The Guard is all about The Gleeson. Director John Michael McDonagh's film is a blast, and not because of the story it tells but rather the
character it creates. Gleeson's Boyle is one of the most memorable characters to come along in some time. He's a different sort of animal to be sure:
he's crude, offensive, funny, and serious, but he emotes them all with the same cadence. Each of the qualities make the man, and the man is equal
parts
of all. None are hidden, all are worn on his sleeve. The movie is potentially offensive, but it's offensive in a goodnatured sort of way that should not
contextually bother anyone paying attention to the greater whole. The rest of the plot is insignificant, really, thanks to the movie's correct laser-like
focus on Gleeson. The Guard is an unequivocal winner, and Sony's Blu-ray makes a great disc with which to ring in the new year. A nice
assortment of extras compliment strong video and audio, all of which only add value to The Guard. Highly recommended.
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Next year, Sony Home Entertainment will bring The Guard to Blu-ray. Writer/director John Michael McDonagh's crime comedy stars Brendan Gleeson (Green Zone) as an iconoclastic Irish policeman who teams up with a straight-laced FBI officer (Don Cheadle, Out of Sight) ...
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