Matt Dillon co-authored, directed and starred in this medium-budget drama- thriller about a front-man (Dillon) and a con-man (Caan) connected by more than just an apprenticeship. The directing is very good, and the finished product is mostly polished and well paced. The acting is superb, with Caan, Dillon, Depardieu and Kem Sereyvuth giving memorable performances. The story line is also good, though not structurally original, and the script only fails in a few places. Part of the problem with the script may come from the fact that Dillon attempted to pack so much material into it - simultaneously making the protagonist a fully realized and sympathetic character and causing some important plot points such as those illustrating the developing romance between Dillon and McElhone to appear as little more than distracting loose threads.
Dillon and Caan have been working together since Dillon was nine years old. Both are con-artists pulling off elaborate insurance and development schemes, and Caan is Dillon's mentor. After one of these schemes goes bad, Dillon flees the US to try to find Caan in P'Nom Phen, Cambodia, where most of the story takes place. Just as Dillon manages to catch up with his mentor, things start to go much much worse, and the audience is caught in a shell game, wondering, to the end, who is conning who and how bad it might really get. All throughout this, Dillon's character is explored, developed, and grown into somebody markedly different from who he was at the beginning of the film. And the film ends up as much a character study as a thriller.
Some will likely find the lazy pace of this film grating. Others will be annoyed by the dialog-driven plot and the frequent pastiches of strangely alienating Cambodian scenery. This is a film which fits squarely in the independent art film tradition, and so, it won't appeal to most Hollywood action and crime drama fans. For my part, I was mesmerized by the soundtrack and Cambodian imagery, almost to the point that I no longer cared about the plot.
I'll look forward to Mr. Dillon's next film.
Dillon and Caan have been working together since Dillon was nine years old. Both are con-artists pulling off elaborate insurance and development schemes, and Caan is Dillon's mentor. After one of these schemes goes bad, Dillon flees the US to try to find Caan in P'Nom Phen, Cambodia, where most of the story takes place. Just as Dillon manages to catch up with his mentor, things start to go much much worse, and the audience is caught in a shell game, wondering, to the end, who is conning who and how bad it might really get. All throughout this, Dillon's character is explored, developed, and grown into somebody markedly different from who he was at the beginning of the film. And the film ends up as much a character study as a thriller.
Some will likely find the lazy pace of this film grating. Others will be annoyed by the dialog-driven plot and the frequent pastiches of strangely alienating Cambodian scenery. This is a film which fits squarely in the independent art film tradition, and so, it won't appeal to most Hollywood action and crime drama fans. For my part, I was mesmerized by the soundtrack and Cambodian imagery, almost to the point that I no longer cared about the plot.
I'll look forward to Mr. Dillon's next film.