If there are medieval buildings, hitmen and midgets in purgatory then the place between heaven and hell is a lot like being In Bruges, the Belgium location for the new black comedy of the same name from writer/director Martin McDonagh. Effortlessly combining genres, In Bruges is fantastic fun mixing the best elements of drama, thriller and off the wall comedy.

After a job gone wrong, two hitmen are forced by their employer to hole up in Bruges Belgium until the dust settles in London. The proverbial odd couple, Ray (Colin Farrell) and Ken (Brendan Gleeson) are forced to live the lives of tourists exploring the fairytale city while waiting for their foul-mouthed boss (Ralph Fiennes) to leave them instructions. When they do receive the fateful telephone call, zany and unpredictable violence ensues, forcing the two killers to fight for their lives.

What is most striking about In Burges is not its extraordinary and shocking use of violence; rather it is its smart and fast paced humor. While hitman, dark comedies seem to have flooded the independent market in recent years, In Bruges brings the genre to a whole new level. Fiery dialogue should keep audiences on their toes as the actors deliver the quirky script at a pace that is akin to classic Screwball Comedies. In fact the best way to describe the brilliant In Burges is as a Screwball Dramady with hitmen.

This inspired, character driven story works flawlessly, featuring thespians working at the top of their game. While Brendan Gleeson plays the disappointed father figure exceedingly well, and Ralph Fiennes is as equally hilarious as he is menacing, In Bruges is ultimately Colin Farrell’s show. The character Farrell has created, both sympathetic and arrogantly rude, is brilliantly executed. From his loud-mouth and childish antics, antagonizing Gleeson as they wait in this purgatory-like state, to more subtle details, like anxiously biting his nails, Colin Farrell finally shows audiences what all his long, gestating hype has been about, giving his best performance to date.

Like The Third Man before it, while In Bruges is populated with amazing performances, the actors can sometimes be overshadowed by the picture’s impossibly brilliant location. The most well persevered medieval city in Europe, Bruges is captured perfectly on celluloid, likely to make the picturesque city a major tourist attraction, much like the effect Carol Reed’s aforementioned 1949 classic had on Vienna.

The comparison between In Bruges and The Third Man doesn’t end at their stunning locations either. Both movies are filled with dangerous characters inhabiting an even more threatening world. Meeting Ray and Ken as they perform activities completely unrelated to their profession allows audiences to bond with them, and perhaps lower their guard. We are duped into forgetting the danger that comes with the job of being a hitman. Each moment of violence is built impeccably well into the script, leading up to an enthralling chase at the climax of In Bruges.

Audiences are lucky to come across films this good. In Bruges achieves cinematic excellence that demands to be appreciated. Like the medieval sites that inhabit the gorgeous city, Martin McDonagh has made a film that could reach classical status; all it needs is to find an audience. However with its first quarter 2008 release date and horribly ugly onesheet, one can only hope the Focus Features release will be remembered come award season. Until then, do yourself a favor and get lost In Bruges.

-Joe Russo