This is a relatively weak effort from Tran, compared to the films that bookend it. It's a standard "good people face hard times and lose their innocence" story... we've all seen this before in one form or another, and Tran isn't bringing anything new to it. The visual artistry is impressive, but the script leaves something to be desired.

The sound track is amazing, constantly awash in the droning hum and scrape of life, so much so that the spare moments of non-diegetic music seem almost plastic and intrusive. This film's milieu is an overly stylish and vibrant sort of poverty (which always bugs me a little), and the underlying story is exceedingly simple, but yields to a spontaneity and fluidity of expression that I find intriguing, if not entirely effective.

Why do I not love you Anh Hung Tran?

Violent, confusing, gorgeous, bloody, unsettling. My only complaint is that it overuses subtlety and leaves too much unanswered. Warning: animals, people, and souls were harmed in the making of this movie.

Cyclo is impressive as a slice-of-life, microscopic view of Saigon; a well-handled multi-stranded narrative; and an artistic musing on life in poverty and Vietnam's future. The stories are simple and effective, but frankly it's the exotic setting which will get you hooked. The cinematography is outstanding for a Viet film and together with the leitmotif of water gives Saigon a particularly strong character of its own. A must-see for anyone with an interest in Asian cinema beyond the mainstream.

Who the hell plays 'Creep' in a nightclub anyway?

The story is a bit well-worn for me: the way urban youth get caught up in crime. Yes, that's a bit simplistic, but that's the gist of the story.

An achingly beautiful film, Cyclo's strengths are formal more than narratival. I especially appreciate the elliptical editing, particularly the way this stylistic choice invites the viewer to engage the film. Of course, the look of the film is consistently stunning, presenting this world in a way that contrasts with the harsh realities on the screen. I find such contrasts productive here, yielding insight rather than obscuring the difficulties of the poor.

Defenseless souls abandoned on the road with no choice and no future. Innocence paint with violence and metaphors. Story linked to the impact of absent father. Absolutely beautifully shot and told.