The accidental murder of a child has hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) fleeing to Bruges, Belgium, on boss’s orders. While awaiting further instructions, Ray struggles with suicidal tendencies, which are compounded by his disdain for his new surroundings. Ken, the near polar opposite of his rambunctious partner, takes delight in the history and picturesque surroundings of Bruges. Despite the differences that the duo shares, there is a latent bond that holds true, especially when their boss (Ralph Fiennes) comes calling.

This first feature film from writer/director Martin McDonagh follows in the footsteps of such dark comedies as Guy Ritchie’s Lock, Stock and Two Smoking Barrels (1998), but In Bruges maintains a distinctive edge.

Obscene language and violence? Check. Euro flare and style? No question. Near unintelligible dialogue? Most assuredly. But McDonagh’s film sets itself apart stylistically by employing a unique form that bears close ties with naturalism. The overwhelming CG effects that currently dominate the industry are abandoned for purity as the environment is left to tell its own story.

The medieval architecture of Bruges harkens to a more brutal time, the time of the Crusades where punishment for sin was swift and severe. The buildings and churches are marvels of geometric precision that grace the waterways of the city. Tightly nestled along the cobblestone streets and canals, the beauty is true; however, the passageways reflect another side of Bruges.

Off of the water and dewy cobblestone we see that this coastal retreat of Belgium is inhabited by both the putrid and the divine. The alcoves and recesses argue the complexities of sin and leave judgment enveloped in shadow. When paired with the story’s themes of redemption, the setting could not be more fitting for such sordid characters tugging at the shoestrings of fate.

The visual experience that In Bruges offers is overflowing with homage to the great noir pictures of yesteryear. In one scene we see Ken watching the brilliant opening sequence to Orson Welles’ Touch of Evil (1958). Although there is as definite thematic similarity between the films, In Bruges seems to follow the template of another Welles vehicle, The Third Man (1949). This classic also relies heavily on nuanced naturalism that stresses the environment’s impact on the individual as crime unfolds on the cobblestone streets of war-torn Vienna.

Behind its quasi Neo-Realism quality, In Bruges follows a fairytale script rooted in bizarre behavior and improbabilities. There is a beautiful irony to this film that grounds us in the tangible while at the same time allowing us entrance to a dreamlike world marked with coincidence. Some of the avenues that the story explores are outlandish to the point of absurdity, but it is refreshing to see a director step outside the lines for the sake of originality.

McDonagh’s film does have its flaws, but it is a tightly-wound engrossing visual experience that will provide laughs and thrills. The cast is a highlight with the exceptional Ralph Fiennes providing out-of-character comedy and the typically second-rate Farrell turning in an impressive performance. The crass dialogue can be misconstrued as vindictive at points, but McDonagh always assuages the offended by making the source a victim of ignorance. In Bruges’ greatest attribute may be the ending that avoids textbook treatment and supplies a denouement that isn’t contrived or expected.

Adam Neal is the founder of www.featurefilmreview.com. E-mail comments to him at adam(at)featurefilmreview.com.