vt. (及物動詞 transitive verb)
Carrying their cultural [baggage] with them, the immigrants try to find some way of fitting in. Miro [longs] to be an architect like Will, but he has dropped out of school and become a deracinated cat burglar, jumping across rooftops. Amira, a classical pianist, makes her living as a tailor and a waitress.
Where would movies be without [ex]patriation?
Nothing tests a hero like [transplanting] him to foreign soil, and there is no guarantee that he will become any more heroic when [ripped] from the reassurance of home turf. Two new movies, "In Bruges" and "The Band’s Visit," so perplex their deracinated characters that what we end up with feels less like a narrative and more like a foundation course in floundering.
"In Bruges" is not the most secretive of titles. Two Irish hit men, Ken (Brendan Gleeson) and Ray (Colin Farrell), [fresh] from a kill, are [packed] off to Belgium and told to lie [low], while awaiting [further] instructions.
They [loiter] through flawless streets and [cruise] along the canals, taking in what Ken calls "the best-preserved medieval city anywhere in Europe" and what Ray, whose aesthetics are not quite so demanding as his liver or his loins, describes as "a shithole." As for historical significance, well, history is merely "a load of stuff that’s already happened," as Ray points out, and thus of no further interest.
You soon see what the writer and director, Martin McDonagh, has in mind: take a famously pretty place, lapped by the past, and shove it into the present day by spilling blood and brains on its cobbles and polluting its misty air with poisoned oaths.
The movie is giving the finger to anyone with a taste for heritage cinema—anyone who hopes that a movie, like life, or like a week in Bruges, can be a box of chocolates.
to turn cities into shamble[s]
Her desk is [a] shamble[s]
cf. recluse (a. n.)
to parry an embarrassing [question].
as we watch the characters [thrust], [parry], and then [withdraw]