If it weren’t for the fact that writer/director Martin McDonagh is every bit as handsome as his favorite leading man, you’d think he was going down the Woody Allen vanity route, casting Colin Farrell as his obvious surrogate—a screenwriter named Marty M—in his second feature film, Seven Psychopaths. Fellow Irishman Farrell was also the star of McDonagh’s 2008 sleeper hit In Bruges, which also wove its story around a band of incompetent low-level criminals who accidentally get into the crosshairs of a big time criminal sociopath, played very winningly in that first film by a rewardingly cast-against-type Hugh Grant.

The tone of Psychopaths feels very much the same as Bruges in that Farrell again plays a likable fuck-up (this time an alcoholic screenwriter who is finding it hard to produce a follow-up to his first success) whose loser friend Billy (Sam Rockwell, playing very much TO type here) makes his living through a sloppy dog kidnapping operation that he runs with his mysterious elderly pal Hans (Christopher Walken). Unfortunately, Billy nabs a cute little Shih Tzu who happens to be the darling of his owner, mafia overlord Charlie Costello (Woody Harrelson), and thus begins the chase. A shaggy dog story, indeed.

In the 1990’s, a pair of French directors brought us two fantastical movies unlike anything I had ever seen before. Delicatessen (1991) and La cité des enfants perdus (The City of Lost Children, 1995) were wildly imaginative, twisted, and haunting, but they were also quite beautiful. Marc Caro and Jean-Pierre Jeunet packed their movies with so many visual delights that repeated viewings were necessary to absorb even a fraction of them. I forgot how much I loved those films. . . until now.

Watching Terry Gilliam’s The Imaginarium of Doctor Parnassus, I experienced the same awe and wonderment that those French films evoked in me. Imaginarium is like a grown up version of The Wizard of Oz, painted liberally by the storytelling brush of  the Grimm brothers. It’s dark and twisty, colorful and lovely all at the same time.

Mainstream audiences might recognize some of Gilliam’s work (Monty Python and the Holy Grail, Twelve Monkeys, Brazil, Fear and Loathing in Las Vegas), but this film will probably not garner him any new fans, it is just too bizarre. The Gilliam loyalist, however, will be richly rewarded by this visual masterpiece. Before I continue, just a warning that this review contains mild spoilers.