I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Good story, Not enough for a whole film

Fantastic!

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

With a little more work this might have been an excellent addition to modern film noir. We have the double and triple crosses, the dark settings, the abundant cast of seedy characters, and the tangled web that gets more and more tangled. As it stands, though, it fails to achieve the level of noir I enjoy. Nonetheless it is worthy of a view, especially the scenes of Cambodia, which has rarely been a subject for a film. The film probably could benefit from some judicious editing. At the current length it is a little long, and some of the scenes (especially with the female interest) aren't necessary.There is good acting and excellent photography and music.

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)

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.

The story of City of Ghosts is decent but clichéd. There is a well assembled international cast of competent actors with veteran actor Matt Dillon handling directing honors. The real pull of the movie is the backdrop on locations in Cambodia and Thailand. This immersion generously brings authenticity and color. On top of that, the director wisely opts for local languages instead of dumbing-down for audiences with English everywhere. The result is a solid movie with exotic backdrops, palpable atmospheres, and decent acting. The realism of the story is fused together with the respect for the location and people as it stands. The movie is worth it just to see that much. It, although not as good, is reminiscent of The Year of Living Dangerously which has superior performances and story; both flicks capture the sensational atmosphere though. One other thing of note - thought the music/soundtrack suffered at times not really lifting the experience as much as it could of - a missed opportunity.