Colin Farrell makes up for past bombs with 'In Bruges'

So, let's dive into the basics. "In Bruges" is about two hitmen, Ray (Farrell) and Ken (Brendan Gleeson) who are sent into hiding by their boss (Ralph Fiennes) in Bruges (a medieval city in Belgium) as punishment for a job screw-up. The beginning of the movie focuses very much on the relationship between the two seemingly mismatched hitmen and the humorous tensions that transpire between them.

Ray is the typical young, impertinent rookie, while Ken is the quintessential old, beaten-up seasoned veteran. Their bond evolves out of necessity, yet it embodies a father-son relationship. The chemistry between the pair comes across most touchingly when Ken tries to educate Ray about the history of Bruges' cathedrals, and Ray walks out on him. In one of the film's funniest one-liners, revealed in the trailer, Ray voices his disdain for Bruges by saying "If I'd grown up on a farm and was retarded, Bruges might impress me ... but I didn't, so it doesn't." Reading this, you might think the movie's just another pseudo-badass action comedy in the vein of "Rush Hour" or "Men in Black." But the plot soon spirals out of control, as the past catches up to these flawed characters with brutal, emotional results, and the audience is taken for a ride.

By setting the action amid the evocative, atmospheric canals, alleyways and alcoves of Bruges, writer-director Martin McDonagh gives us an unconventional spin on the hackneyed theme of hitmen facing the consequences for botching up jobs. His screenplay is great: a bracingly offbeat blend of deadpan humor and endless expletives - Fiennes in particular seems to have a liking for the F-word. The characters are strongly developed, too, and we become drawn in by their warm humanity and charmingly rugged personas. And it doesn't stop there: McDonagh includes themes of existentialism and nihilism while still finding time to pack in a thrilling chase scene, gunshots and stunt jumps. What more can you ask for?

The acting is commendable, of course. (Un)fortunately for us, Farrell does not play dress-up or take off his shirt to display his remarkable pecs. He does, however, succeed in stripping off at least one thing: the title of Mr. Mediocrity, which he earned through yawn-inducing bores like Oliver Stone's "Alexander" and Michael Mann's "Miami Vice." Not having to worry about his accent is probably a big help. Comfortable in his own Irish brogue, Farrell is able to concentrate more on acting and less on articulation.

Fiennes, in a performance reminiscent of his terrifying, career-defining turn in "Schindler's List," does not appear until halfway through the movie but steals the scene once he does. His cold, widened eyes pierce straight through the audience and every character onscreen so that even painful memories of "Maid in Manhattan" are forgotten. Hopefully this will be the beginning of Fiennes' return to quality filmmaking, away from "Harry Potter" and Jennifer Lopez.

One must not forget the other scene-stealer of the film: Jimmy the Midget, played by Jordan Prentice. He is the cherry on top of a large, creamy cake, the cute Ewok to Farrell's Luke Skywalker, and his drug-induced hilarities have the capacity to knock you out of your seats. As if the hitman theme were not enough, the midget's place in the movie adds to its eradication of political correctness, making it an entertaining spectacle.

Just as the characters in the movie don't write each other off, you should give "In Bruges" a chance to prove itself. The film as a whole, in fact, is like a midget: There's much more to it than meets the eye.

Pros: Funny and endearing, yet deeply meaningful