The movie fairly oozes with atmosphere, and its cast contains enough colorful characters to make Casablanca blush.
I also liked how the events in the story effect a change in Jimmy, a wholly unexpected turn that provides a rather touching and long-overdue coming-of-age for the character. Fact is, some people never grow up until well into adulthood, and such is the case with Jimmy. Thus, "City of Ghosts" becomes a kind of "Huckleberry Finn" for the twenty-first century.
Still, the film is not all character study and setting; the second half does get suspenseful, and the tension picks up. Several bloody deaths, a couple of plot twists (believable or not), and an entirely satisfying ending carry the film into the familiar terrain of the action thriller. In addition, there is the beautiful cinematography to enjoy and an especially attractive and evocative musical score.
In all, "City of Ghosts" can be a pleasing experience if you let it, set as it is in a milieu of exotic climes and filled with old-fashioned romance and adventure, where terms like "good guys" and "bad" are often as muddled as the murky surroundings we find them in. Fun stuff, actually, and a promising directorial debut for Dillon.
Video:
An extraordinarily high bit rate, something on the order of Sony's Superbit, ensures a good, detailed picture in deep, rich colors. The overall texture of the image is very smooth, yet delineation is on the soft side, weakening the clarity ever so slightly. A very fine grain adds to the sense of realism, colors are natural, never overly bright or garish, and jittery lines are virtually nonexistent. It's an exemplary transfer of an excellent print, presented in a widescreen anamorphic ratio measuring approximately 1.74:1 across.
Audio:
The audio is reproduced via Dolby Digital 5.1 Surround, only there's not a lot of "surround." The front channels do a commendable job with dynamics, stereo spread, frequency response, and bass. But the rear channels do merely sporadic work in voices, crowds, rain, and occasional street noises. You could say the surrounds do just enough not to call attention to themselves; a little like the film itself, they are inconspicuous until needed.
Extras:
As far as bonus items are concerned, there aren't many. Clearly, MGM weren't about to expend any more money than they already had on a losing proposition. But they did manage to get their star, writer, and director Matt Dillon and his cowriter Barry Gifford to do an audio commentary, or possibly Dillon and Gifford got MGM to let them do the commentary. In any case, for the few minutes I listened, it seemed above average in its depth of exploration and insight. Beyond the commentary, though, there are slim pickings: a mere sixteen scene selections, a widescreen theatrical trailer, and an informational page insert are all that remain. English is the only spoken language option, but there are subtitles in English, French, and Spanish.
Parting Thoughts:
While I enjoyed "City of Ghosts" and can strongly recommend it, I can understand some people's reluctance to embrace its leisurely approach to storytelling. The movie wants to be a suspenseful action thriller but spends its own good time getting around to it, preferring to simmer in a stew of picturesque scalawags and moody environmental ambience at the expensive of plot progress. So be it, but I happened to be among those who rather enjoyed the people and the places and their relationships with one another. The film makes a small but welcome alternative to the more showy action blockbusters we've become accustomed to.
Still, the film is not all character study and setting; the second half does get suspenseful, and the tension picks up. Several bloody deaths, a couple of plot twists (believable or not), and an entirely satisfying ending carry the film into the familiar terrain of the action thriller. In addition, there is the beautiful cinematography to enjoy and an especially attractive and evocative musical score.
In all, "City of Ghosts" can be a pleasing experience if you let it, set as it is in a milieu of exotic climes and filled with old-fashioned romance and adventure, where terms like "good guys" and "bad" are often as muddled as the murky surroundings we find them in. Fun stuff, actually, and a promising directorial debut for Dillon.
Video:
An extraordinarily high bit rate, something on the order of Sony's Superbit, ensures a good, detailed picture in deep, rich colors. The overall texture of the image is very smooth, yet delineation is on the soft side, weakening the clarity ever so slightly. A very fine grain adds to the sense of realism, colors are natural, never overly bright or garish, and jittery lines are virtually nonexistent. It's an exemplary transfer of an excellent print, presented in a widescreen anamorphic ratio measuring approximately 1.74:1 across.
Audio:
The audio is reproduced via Dolby Digital 5.1 Surround, only there's not a lot of "surround." The front channels do a commendable job with dynamics, stereo spread, frequency response, and bass. But the rear channels do merely sporadic work in voices, crowds, rain, and occasional street noises. You could say the surrounds do just enough not to call attention to themselves; a little like the film itself, they are inconspicuous until needed.
Extras:
As far as bonus items are concerned, there aren't many. Clearly, MGM weren't about to expend any more money than they already had on a losing proposition. But they did manage to get their star, writer, and director Matt Dillon and his cowriter Barry Gifford to do an audio commentary, or possibly Dillon and Gifford got MGM to let them do the commentary. In any case, for the few minutes I listened, it seemed above average in its depth of exploration and insight. Beyond the commentary, though, there are slim pickings: a mere sixteen scene selections, a widescreen theatrical trailer, and an informational page insert are all that remain. English is the only spoken language option, but there are subtitles in English, French, and Spanish.
Parting Thoughts:
While I enjoyed "City of Ghosts" and can strongly recommend it, I can understand some people's reluctance to embrace its leisurely approach to storytelling. The movie wants to be a suspenseful action thriller but spends its own good time getting around to it, preferring to simmer in a stew of picturesque scalawags and moody environmental ambience at the expensive of plot progress. So be it, but I happened to be among those who rather enjoyed the people and the places and their relationships with one another. The film makes a small but welcome alternative to the more showy action blockbusters we've become accustomed to.
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