Solidrariol Am I Missing Something?

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

emuir-1 How many films have we seen set in decaying far away third world locations, way beyond the reach of law and order and inhabited by the detrius of the Western World, each with a shady past and all living on the edge. These films usually have as their title the name of the city in which they are set, Casablanca, Algiers, Maroc, Hong Kong, Shanghai - as long as it is exotic and off the beaten track, City of Ghosts is no exception. In the 1940s it would have been named Pnomg Peng and starred Sydney Greenstreet, Peter Lorre, Gale Sondegaard, Marlene Deitrich, Hedy Lamaar, Jean Gabin and other favorites of the genre. All the requisite characters are there. All twisted, corrupt and ready to sell their own mothers at a snap of the fingers.The French exile Emile, owner of a run down hotel and bar, who may have been left over from the French colonization of Indo China and has no home in France, or maybe he is an escaped convict, or a deserter from the Foreign Legion. Who knows, he might be any and all of these things. He knows his way around, understands his low life customers, who to deal with, which palms to grease and more importantly - when.Other main characters comprise the not -quite-good guy around whom the story is built, the successful con man who might have gone in for one con too many, the corrupt general, the bar girls (boys) and of course, the decent clean western girl visiting old temples and naively treading her delicate way through the mud and filth.Cambodia is shown as a near derelict run down ruin of a place, crumbling buildings, dirt roads, rubbish strewn everywhere, although there are some glimpses of lovely homes and attractive gardens. I was reminded of "The Quiet American", "Brokedown Palace" and "Beyond Rangoon" the westerner suddenly cast adrift in a very different world. If you like to lose yourself in an intricate thriller set in foreign parts, with nostalgia for the film noir genre, I can recommend this film.

rooprect I'm not necessarily saying it's as good as "Casablanca", but I'm saying there are some interesting parallels. "Casablanca" is probably one of the most atmospheric and characteristic films of the 20th century. It was one of the first films to sink itself into a dreamlike setting, drawing heavily on its location: a forgotten waterhole in the desert where Western exiles slog through their lives waiting for who-knows-what. "City of Ghosts" is filled with the same dreamy, surrealistic feeling but with a layer of grime and sweat that gives it an air of realism at the same time. Hats off to rookie director Matt Dillon for not only having the guts to attempt it but to succeed.You may hear people, including Roger Ebert, calling the plot preposterous. A white collar hustler (Dillon) flees the USA and ends up in Cambodia searching for his enigmatic mentor who seems to be neck deep in bok choi himself. Sounds sorta like "The Color of Money" meets "Apocalypse Now", huh? Why not. Even Roger Ebert said the plot is not nearly as attention grabbing as the impressive setting, cinematography and mood."Cityu of Ghosts" is reportedly the first major motion picture to be shot in Cambodia since the 1960s, and Dillon & his filmmaking crew didn't skimp on finding the best settings. The locations can best be summed up by a line from the film when James Caan, who is occupying the ex-governor's estate, says "What do you think?" To which someone answers, "Could use a coat of paint" and Caan fires back, "The entire country could use a coat of paint." In other words, the locations are full of majesty and grandeur but with a raw, unkempt appearance that only add to the charm.Some of my favorite scenes were at the tavern and hotel of innkeeper Emile (Gerard Depardieu), again reminding me of Bogart's "Rick's" in Casablanca. Depardieu plays a curious character, a tough guy who kicks thugs' butts while holding a baby under one arm. Among his staff is a trained monkey who steals from the patrons while Depardieu feverishly denies the monkey's existence. Haha, pure magic! Dillon himself plays a tough but clueless American who learns the ropes fast, while Caan plays a wiser type who seems to be on the verge of insanity with his delusional ideas. Both actors deliver.The soundtrack is also worth noting. Subtle yet memorable, particularly a recurring piece called "Dear 5" by Peter Whitehead. Look it up on Youtube if you get a chance, it will give you a decent idea of the moody, atmospheric show that's in store for you.Like I said earlier, don't expect to be blown away by the plot. Heck, even Casablanca had a pretty linear storyline. But what matters in this film is the presentation. In addition to "Casablanca" I would compare this film to "Witness in the War Zone" (with Christopher Walken) and an excellent Taiwanese gangster/zen flick called "The Drummer".

eplromeo8 The latest Reel 13 "Indie" is another film, like last month's A PROBLEM WITH FEAR that doesn't feel very much like an indie. It stars Matt Dillon, James Caan and Stellan Skaarsgard and is shot almost entirely in Cambodia. IMDb reports the budget to be $17.5 million. How does any film that cost over $10 million qualify as an independent film? While I question its status as an independent film, CITY OF GHOSTS is hardly as mind numbing as A PROBLEM WITH FEAR. As a matter of fact, it has a lot of great qualities, but somehow still doesn't capture the viewer in the way you would want it to.Aside from a sadly two-dimensional and useless Natasha McElhone love-interest character, the rest of the characters in the film are well-developed and well-played. Matt Dillon, who also directs, is extremely subtle and nuanced in a role that wisely seems to play well to his strengths. James Caan plays an underworld kingpin type role that he's played a million times, but adds terrific layers of pathos and regret that help shape the character. Not surprisingly, Skaarsgard is great at depicting the way fear, guilt and greed can eat away at a soul.The plot, which is kind of like a modern-day, Southeast Asian version of THE THIRD MAN is well laid-out and full of plausible, interesting twists. The cinematography by Jim Denault is rich in texture and palette. The design is believable and detailed. So, with all these strong elements, it's initially hard to figure out why they don't all add up to a great film.In thinking about it further, I've decided that the fatal flaw of the film comes in the first act. In Dillon's haste to get the plot rolling, he and his screen writing partner, Barry Gifford neglected to get us to care about or like the main character of Jimmy. They are good about giving us information and backstory in regards to the character and all of his actions make sense and are understandable. As I said, Dillon portrays him believably as a complex, haunted man, but it occurred to me that at no point did I root for him. I understand that Dillon wanted to create a character that doesn't wear his heart on his sleeve and whose essence was deeper than he would ever reveal to people he meets. Still, I think the audience has to see it. An example of a similar character done very well is Matt Damon in THE GOOD SHEPHERD. Damon plays one of the most quiet, understated and seemingly emotionless characters of the decade, but he, in collaboration with his director Robert DeNiro, portray occasional moments of weakness throughout the film – moments where his guard is let down. No character within the film is privy to these moments – only the audience and it's just enough to connect you with the character and hence to get you emotionally involved in the character's journey. That's the missing link in CITY OF GHOSTS. It may seem like a small thing, but in the house of cards that is film-making, it would be one of the cards that you need on the very bottom. Without it, the whole thing comes toppling down.(For more more information on this or any other Reel 13 film, check out their website at www.reel13.org)

RARubin Cambodia and Thailand, the old colonial streets still give a foreigner a dread. As one of the characters in this monsoon thriller said, "the whole country could use a coat of paint." Matt Dillon is the insurance executive caught up in a scandal that he needs to rectify, maybe, if he can locate the company chief executive, the mysterious and shifty Marvin. On the way to rain forests, Dillon meets up with pretty Natacha McEthone, a member of group of antiquity restorers. Then the usual seedy characters show up at the rancid hotel. James Caan as Marvin and Gerard Deprardieu as the indo-chin innkeeper fill out the cast. Then Dillon's passport is stolen and on and on for two hours we take a tour of the countryside, the natives, and the brothels.Dillon directed and co-wrote the script and I think that is a problem. City of Ghosts is too long and the Dillon-McElhone romance is forced. I mean if you're afraid for your life, are you going to take the time to ask a girl out on a date? Hmmm, maybe not, so Dillon loved his directorial takes so much, he could not cut them, and some studio guy insisted on a love interest. In addition, it's weird, but Dillon as an adventurer, Bogart type in Cambodia: he still delivers some lines as though he were still in a teen rumble.