Just when the audience thinks that the movie can’t get any more intense, in walks the combustible elements of cocaine, midgets and prostitutes.

If you are easily offended or even the least bit squeamish, “In Bruges” probably isn’t for you. Lucky for you people/babies, the movie clues you in on what kind of an experience it’s going to be within the first minute.

Before the audience even gets a glimpse of a human being, we can already hear Colin Farrell throwing down more f-bombs per sentence than a Polynesian pirate.

The film centers on a dispute within the hierarchy of the hit man world. At the bottom is Ray (Farrell), a first-time hit man who unintentionally breaks the cardinal rule of the business. Alongside his mentor Ken, a burley father-figure played by Brendan Gleeson, the two are told to hide in Bruges (that’s in Belgium) and await orders from the their boss.

Ken is in heaven, wandering the medieval Flemish dreamscape of Bruges while soaking in the rich history. Meanwhile, Ray is trapped in what he sees as both a physical and mental hell. With a subdued mix of boredom and suicidal regret, Ray acts like a kid on vacation who simply doesn’t want to be there.

Farrell shines in his best role since 2005’s “The New World.” He carries the weight of the world on his shoulders, always walking down the cobbled streets of Bruges with his head down. His only real joy in the city comes from his interactions with Chloe, a local drug dealer that he meets on a film set.

The streets of Bruges are powdered with a fresh coat of pre-Christmas snow, providing some beautiful images throughout the entire duration of the film. Although nothing revolutionary, the film is visually solid in all aspects.

The humor of movie is in line with the likes of “The Boondock Saints” or “Hot Fuzz,” though “In Bruges” manages to surpass both films in terms of vulgarity and amount of people offended.

The movie runs the gamut of mockery by poking fun at pretty much every single group of people on Earth.

It mocks people based on race, nationality, sexual preference, mental capacities, size (both height and weight) and gender. Yet somehow, the jokes never seem to be malicious. It’s hard to explain why, but it partially stems from the fact that Ray and Ken are such deeply flawed, yet sympathetic characters.

Completely devoid of any sympathy is Harry, the head-honcho of the hit man world, played with hilarious anger by Ralph Fiennes. From Amon Goeth in “Schindler’s List,” to Lord Voldemort in “Harry Potter,” Fiennes has slowly become one of the greatest villain actors in recent memory.

Director Martin McDonagh, who won an Oscar for his short film “Six Shooter,” constantly ups the ante with each subsequent scene. Just when the audience thinks that the movie can’t get any more intense, in walks the combustible elements of cocaine, midgets and prostitutes.

Providing immense juxtaposition with the dark humor, the film is peppered with moments of intense gravity that silence the theater as all eyes are transfixed on the heart-wrenching drama portrayed on screen. “In Bruges” seems to test audiences by seeing how quickly they can go from genuine laughter to stunned silence.

The final scene, a surreal dive into a purgatory that only film can convey, ends the movie on an absolutely perfect note. Though little new ground is tread during the course of “In Bruges,” every single minute of the film remains undeniably entertaining.

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