Camino a la perdición

This is a splendid movie which fancies itself a revenger father called Michael Sullivan (Tom Hanks) , he is right-hand to Mr Rooney (Paul Newman) who has a nasty son (Daniel Craig) . When the mob enforcer's son (Tyler Hoechlin) spies , he's in for a shock and things go wrong . All of them put Sullivan at odds with Rooney who is forced to side with his son , making Sullivan an enemy of the mob . Sullivan then takes action to protect his family and to put an end to the threat . Forcing him and his son on the run and to take to the road . Pray for Michael Sullivan . Every father is a hero to his son . Every son holds the future for his father . The innocence of a son is surpassed only by the father's will to save it.

Based on the dark graphic novel by Max Collins and Richard Piers Rayner adapted faithfully by David Self. Anyone with a fondness for mobster movies will find quite a bit to admire this fabulous film . This is a magnificent picture , except that the yarn turns so much bathetic and extremely sentimental , at times . This thought-provoking material blends comic-strip , a tridimensional kid's eye pastiche and ordinary mobster movie , though remains fundamentally in comic-book wake . Cast is pretty well , giving outstanding acting . Highlighted by Hanks' acting as father down a path of redemption and revenge , though some critics state Tom is fatally miscast . Paul Newman as mob boss and Daniel Craig are good , the latter as the rutlhess partner in crime . Jude Law as the terminally self-conscious hit-man steals of show as a whacked weegee-style photographer . Other prestigious actors appearing are the following ones : Dylan Baker , Ciran Hinds , Jennifer Jason Leigh and Stanley Tucci as Frank Nitti

The film packs a colorful and glimmering cinematography by Conrad Hall , who previously brought American Beauty , to whom the film is dedicated . It was shot in various locations as Grand Rapids, Saugatuck, Zeeland , Michigan , Pullman , Chicago , Geneva , Evanston , Momence , Beecher , Thornton , Illinois . As well as sensitive and rousing musical score by Thomas Newman. Being lavishly produced by Joan Bradshaw , Walter F. Parkes , Dean Zanuck , Richard D. Zanuck and Sam Mendes himself . This gangster picture was well directed by Sam Mendes , though with no originaly . Mendes is a good director who has made some successful films played by important actors , such as : Jarhead , American Beauty , Revolutionary road , this Road to perdition and two Bond movies : Skyfall and Spectre . Rating: 8/10 . Above average. Well worth watching . Essential and indispensable watching .

`Road to Perdition' is a rocky road of revenge and reconciliation, punctuated by some gorgeous Conrad Hall cinematography. Tom Hanks is a 1930's mob hit man whose 12 year-old son sees him commit a murder. The rest of Director Sam Mendes' (`American Beauty') film is the boy's coming to terms with that knowledge. Paul Newman plays a `godfather,' a father to his errant son and like a father to Hanks.

Laced throughout are 3 father-son relationships, which seem to move toward the violent ends reserved for mobsters. Hanks' son is ambivalent about his dad, whom he seems to adore yet hold accountable for his crimes. Newman's son is like Sonny Corleone, too loose to be in charge and no heir apparent; Hanks owes his lifestyle to Newman-all these relationships are subsumed by the business needs of the larger organization.

This is noir with a dark palette, costuming in clothes metaphorically heavy, and sounding often as stylized and minimal as the murders Hanks commits. `Road to Perdition' lacks the grandeur of Coppola's `Godfather' epic, but it succeeds in evoking an old-testament judicial system where eye meets eye and tooth savages tooth. The revenge motif is too dominant to let the film rest on the promising father-son motif.

Hanks' son learns about morality and decides about following in his father's footsteps. Hanks gives another controlled performance, and Paul Newman lets us know there is room for one more powerful screen godfather.

Let me start this off by saying this movie is beautiful. By a technical standpoint, perfection was achieved. I'll remember this movie as proof of example; outstanding direction/cinematography cannot fully compensate for a lackluster plot.

On paper, the plot is an average set up. Relationships in a crime family are tested, but none are ever stretched too far. In this sense it feels somewhat familiar and not very original.

But what does keep this movie from being average-blah, is the care put into EVERY shot. I give a huge amount of credit to the cinematographer. A good amount of noticeable techniques were used. I particularly liked one symmetrical pillar shot that used a zoom in dolly in trick. A slight variation of the Vertigo introduced, zoom in dolly out.

But with all of these wonderful shots I noticed something. There was so much technically stunning camera work, I found myself completely drawn out of the story. Was this done intentionally? To some degree I think so. This nicely compliments the dark and rainy 1930's settings.

Noticing this I tried to put more thought into the plot. There basically was none. The characters were cold and lacked development. Any dialog is important and used sparingly. I couldn't stop myself from drawing comparison to The Godfather. What Road to Perdition lacks is any underlying intensity between the characters. I never feel like they were a tight-knit family and do feel as if I'm simply watching characters play their parts. The story has no poetry and feels more like a collection of parts that aren't worth its sum.

I appreciate it in its stunning visuals, but once the credit rolled I felt nothing. And I find no reason to return back to it.

This couldn't have been better. The strong restraints on Mike Sullivan's expressions couldn't have been portrayed in any other way. Tom Hanks delivers the best performance of his career. Young Tyler Hoechlin drives an emotional wheel; playing the basis character for the story. And veteran Paul Newman gives one of his best character performances in a long time.

This film is based on a bold graphic novel by Max Allan Collins and Richard Piers Rayner. This is a father/son story which basically employs the two candidates solely unfit for the roles. Mike Sullivan had no father as a child, so John Rooney took him in. Although a generous man, Mr. Rooney involved himself in organized crime. Therefore, the debt of Sullivan was only to be paid off in involving himself in the business. Now, Sullivan has a wife and two children and is trying to keep his children safe, but at the same time pay back his boss. The events to follow, will test Sullivan's loyalty and embrace his family's fate.

With a great adaptation by David Self, the dialogue comes out seldomly, but yet very virtuous. The story unfolds in a beautiful 1930's setting (Brilliant Art Direction by Richard L. Johnson & Nancy Haigh) covered with a dark rainy (snow on the ground) exterior. Driving the story, is Thomas Newman's wonderful Irish score, settling in only when necessary.

But the most important technical element in the film is Conrad L. Hall's beautiful photography. This is some of the best cinematography I've seen; and I watch a lot of films. The scene when Mike and Michael are in the car, entering Chicago is quite impressive. The shot starts at the front of the car, revealing Mike(Hanks) through the windshield. It subsequently dollys around to the side of the car, to see Michael(Hoechlin) awakening and peering out his side window. As it continues, it trucks sideways and dollys back, completely around the car and reveals a gorgeous scenic 1930's Chicago.

With a great cast and crew, the principle man creates a brazenly amazing film. I'm talking about Sam Mendes, who made his feature film debut in 1999 with American Beauty. (won him various awards) Before American Beauty, Mendes worked as a play director for the British Theater, but decided that he wanted to move on saying that there was nothing new for him in theater. With only two films, Sam Mendes has marked himself in my book as one of the great directors (In a list of about twenty-five).

The film illuminates a brazen genre that has its hits and misses and expresses the true theme brilliantly. The photography, acting and story is phenominal. I'm still waiting for Scorcesee's Gangs of New York, but for now, I'm fully confident in saying that this is the "Best Film of the Year". Considering it's competition (Signs, Insomnia, Minority Report) thats a strong statement.

Many have either hated, loved, or been let down by this film. Hype does terrible things to the best and worst of things. Most of the reasons i have heard for not liking this film are ridiculous. Let me just tell you, if you have not seen it yet, go see it. Even if for some reason you don't think its amazing, it will be among the best films you have seen of the year anyways. Road to Perdition is a beautiful movie, both visually and in performance. Every actor here is deserving of acclaim and Academy attention, mainly Jude Law. Any emotional detachment is intentional; It is a tragic story, one of betrayal, love, bonds, and revenge. There is no doubt this film will become a classic. Don't dare compare it with Godfather: this is a GANGSTER film, not a MAFIA movie! Godfather will never be surpassed, so don't compare to it. Road to Perdition as of now is the leading Best Picture Oscar contender. Unlike past years, it deserves it.