“In Bruges” delivers the most pleasant case of whiplash imaginable.

Impossible to pigeonhole, it catapults the audience through a hip hit man talkie (think Guy Ritchie) to sentimental buddy flick to travelogue to dark comedy, all the while maintaining the structure and ironic sensibilities of a production meant for the stage.

Yes, it’s crass and sure to offend but not exclusive. Americans, “elephants” (large people), minorities and even dwarves are all fair game for first time feature director and well-respected playwright Martin McDonagh.

“In Bruges”‘ effectiveness lies in its ability to make you squirm, laugh and idly meander through a downright odd journey of two professional murderers, who both manage an unassuming vulnerability – this within the span of 10 minutes.

The structure is highly calculated but not overly manipulative, and it becomes a film you will admire upon increased reflection.

I often say the most lasting cinematic experiences are when you forget the theater itself – those in which the characters are so authentic they are passable as a mere extension of daily life.

This is not one of those films. But it’s so deliciously entertaining, you can’t help but care for these intentional, borderline plot device characters.

Bruges, the best preserved medieval town in Belgium, is refuge for two Dublin hit men, Ken (Brendan Gleeson) and Ray (Colin Farrell), after a botched hit on a priest in which Ray accidentally kills a young boy.

For Ken, the cuddliest killer you will ever meet, Bruges is a medieval getaway. All that is missing is a fanny pack and disposable camera.

But it’s purgatory for Ray, whose radar seems to begin and end in Dublin.

However, Ken soon learns his leave is anything but good news for Ray.

Next to his understated performance in Terrence Malick’s “The New World,” this is Farrell’s most accomplished work to date.

In interviews, he seems to be Ridilan-deprived, squirmy, and yet charming somehow. Who better to cast in a fish out of water story?

One second he is doing lines of coke with Jimmy (Jordan Prentice), a dwarf bound for suicide because “little people are more likely to off themselves.” The next, he morphs an intruder into a modern day pirate by shooting his eye out with a blank.

His antics play like compensation for deep rooted pain.

Perhaps I’m giving McDonagh too much credit, and at times, the gags tend to play out for shock rather than purpose.

Regardless, “In Bruges” is one of the most surprising and incongruously involving films in recent memory.

When this small gem arrives in Athens, don’t pass on this modern layover in a medieval Belgium town.

I know, random. But worth it.