Rating: 
Summary: SAM MENDES AVOIDS THE SOPHOMORE SLUMP
Review: After "American Beauty," director Sam Mendes has high expectations to meet, and the beginning of his sophomore film is not promising. It starts with a voice-over narration (show it, don't say it!) and the first scenes look stiff, as if Mendes had spent too much time studying the still images of the comic book this movie is based upon and had forgotten how to make a film come alive. Fortunately, the film eventually gets some fire under its feet and proves to be an engaging if traditional story about the mob and revenge. What lift this trite story about a mobster who doesn't want his son to follow in his footsteps but recruits him into crime to exact revenge against the man who killed his wife and youngest son and against those who protect the killer (shades of the "Godfather") are great acting, cinemaphotography, and direction.Hanks (Michael Sullivan) and Newman (John Rooney) are superb in the two marquee roles, but getting more screen time than Newman and almost as much as Hanks is the excellent Tyler Hoechlin as Sullivan's son, who is yet one more example of how we never have had so many talented child actors as we do now. Jude Law is creepily effective as the assasin out to kill Sullivan, and Law and Hanks have a nail-biting confrontation in a diner whose tension is worthy of Hitchcock. Daniel Craig gives an excellent performance as John Rooney's son Connor whose betrayals set the tragic events in motion. With so many great performances, one is inclined to say it is an actor's movie, but that would not do justice to the elegant cinemaphotography, which is sure to be nominated for an Oscar. It also would not be fair to director Mendes, who imbues this film with a dreamy and ominous quality reminiscent of his first movie "American Beauty" (but without the humor of that earlier film). Its atmospheric quality and superb photography also remind me of the films of M. Night Shyamalan, which also have the relationship between a remarkable father (or father-figure) and son at their centers. The gloomy Chicago nocturnal settings -- all rain and snow -- framed meticulously in one painterly scene after another contribute to the brooding intensity of the film, like a nightmare or a remembrance that you want to forget. The scenes in which John Rooney is executed and in which Sullivan is executed are masterly combinations of sight and sound. That being said, this film's warmed-over, pulp-fiction plot is not up to the classy treatment it receives. Stories about mob revenge killings leading to long chains of bloody mayhem and about the mob code of honor have been done many times over, even if rarely this well, and scenes of the mobsters at mass, at a wake, at a funeral, and so forth, have become awfully familiar. Also, the characterizations are not very deep. It's a testament to the director and actors that such good performances were pulled out of these stock characters. Yet, the script deserves credit for not engaging in wise-guy patter that would have cheapened this stately film. Indeed, Sullivan's Stoic silence and grim determination make him seem more like a cowboy in a mythic Western than a small-time wise-guy. Also, while the look is distinctively 1930s Chicago, with fedoras, classic black cars, and so forth, Medes doesn't overdo it with spats, pinstripes, cigars, and all the other cliches of the genre. As a result, the movie feels grounded in its time and place rather than looking like a copy of all the old Chicago gangland movies. This movie is too violent for kids and probably wouldn't appeal to them anyway, and despite its artsy title it is not a cerebral film, if that is your cup of tea, but most mature filmgoers will like "The Road to Perdition" and will eagerly await his third film.
Rating: 
Summary: Mendes And Gentlemen . . . On The Road To Perdition
Review: For those of you confused by the title, this is not Hope and Crosby's version of the Faustian myth. It's Sam Mendes follow-up to "American Beauty". It's Tom Hanks most internalized acting performance. It's Paul Newman making a rare, and much needed, return to the big screen. It's Jude Law with bad teeth and a balding patch, Jennifer Jason Leigh with almost no lines, and Conrad Hall with another virtuoso example of how to light a movie. It's all these things and more. But somehow, it also manages to be all these things and less. But more on that later. Like in his previous film, Sam Mendes gives away the fate of his main character within the first couple lines of dialogue. The wheel has been set a-spinning, and the only question is how it all plays out. Mendes is a director less interested in the final destination than in the road taken to get there ("Road to Beauty" might have been a better title for his first film; then again, "American Perdition" would be quite apt here). Although, to be fair, the final outcome appears more in doubt here than in that last effort, even with all the gangster talk about "the life we chose" and "none of us will see heaven." Visually, Mendes knows how to frame a scene. Mostly, we see things from the point of view of Michael Sullivan, Jr. (Tyler Hoechlin), the eldest son of Mike Sullivan, Sr. (Tom Hanks), lead enforcer for town boss John Rooney (Paul Newman). Mike Jr. stows away in his father's car one night, in the hopes of finding out how the old man pays the bills. Through a hole in the wall, at feet level so all he can see of his dad are his shoes, he witnesses the brutal, tommy gun murder of a bootlegger. This is the moment that sets the film down its road. Mendes handles it perfectly, allowing the audience to experience the scene as Young Mike does: the visceral destruction and the sorrow of it all, the sonic boom of guns going off in unison, twinkling as bullet shells hit the floor. Watch how this scene, with its over-the-top cacophony of sounds, is contrasted by a later shooting. Scored only by the powerful rhythm of the ocean, which sounds like the breathing of a giant, and bathed in white light, whereas the earlier scene was set on a rainy night, the emotional resonance of this scene is heartbreaking. It's a skillful cinematic moment, made more impressive when one realizes it was filmed by a man making only his second movie. Hanks is quiet and reserved as the cold-blooded mob killer. It's not a very glamorous role, though. Sure, he shows prodigious talent at his job. And he gets to stomp around armed with a cool noir get-up: fedora, overcoat, tommy gun. But he looks worn down, dirty, unshaven, and, quite frankly, pudgy for the majority of the film. No matter. Because even when he's not saying anything, Hanks manages to say everything. His eyes do much of the work here, replacing the charm that he usually uses to get through big parts. It's not as fine a piece of work as his best performance, "Saving Private Ryan", but it's got many of the same characteristics, and is surely in the same ballpark. Newman, relegated to playing supporting character parts these days, proves he still has the chops to rise to the occasion. Rooney must be a lovable old coot (he is), a distant father (he is), a feared dictator (he is), a man capable of menacing anger (he is; to my surprise, Newman still has the force of will to bang on a table and make the whole room feel it), and one who can just as easily resign himself to his own fate (he does). The silver in his hair and the wrinkles on his face may age him, but that low, tremulous voice help him deliver another in a long line of vintage Paul Newman performances. He's still a treasure. Jude Law has a fairly enigmatic part. Best known for works where he is the definitive male object of desire, here Law sports a thinning hairline, unkempt fingernails, and rotting brown teeth. I question the choice of casting Law for this role, like I question the choice of casting the gorgeous Cameron Diaz in "Being John Malkovich": why not just get an uglier actor? But, like Diaz, Law acts his way into my good graces (just like he always does). His photographer/killer moves like an agitated cat. Even though the character is somewhat two-dimensional, Law manages to bring him to life. Sadly, these three actors, some of my favourites, don't get many chances to shine together. But when they do, you aren't going to find anything better. A cast full of fine actors supports them. Stanley Tucci is reserved and business like as Capone right-hand man Frank Nitti. Daniel Craig does well showing the envy and pettiness of Connor Rooney, a son tormented by a father who'd prefer he was a different man. Jennifer Jason Leigh, an actress of stunning power, has absolutely nothing to do here. If I counted right, she has but three lines. Shame, that. And young Tyler Hoechlin doesn't do anything outstanding as Young Mike, but that's probably for the best. Inexperienced kid actors who try too hard get on my last nerve. Hoechlin plays it close to the chest and it works. Although greatly marred by an opening and closing narration, which felt forced, tacked-on, and unrealistic in a film rife with harsh reality, "Road to Perdition" is a fine technical piece of work. While something intangible keeps it from becoming a great film, one that you can clutch to your bosom as an example of the human condition writ large, it still manages to be very, very good.
Rating:
Summary: wow
Review: I couldn't have asked for a better movie. The director, composer, and cinematographer from American Beauty, with Tom Hanks, Jude Law, and Paul Newman, in a crime drama set in the early 1930's. The result? Unforgetable. Every shot in this movie is breathtaking, from mob hits (especially the last one, my jaw was to the floor), to the first glance at chicago city, it is a work of art. Combined with yet another moving score by Newman, which does sound a lot like American Beauty, but that isin't a bad thing ethier. Tom Hanks doesnt smile once in this, or show much expression at all, but when he does, you can see just how good of an actor he is. Paul Newman gives a powerful preformance as well. However, Jude Law stood out the most for me. This oddball of a hit man steals the show, and reassures the fact that Law will always play "the creepy guy" and should be remembered in the oscar race. Is it something to compare to the Godfather? In some ways, yes, in most ways, no. However it is still the best film of the year so far (along with Minority Report and Insomnia), and is well worth your money. Even if you aren't a Hanks fan (like me), you still owe it to yourself to see Sam Mendes work. Note to all parents, keep the younger set away, this is a rough, dark, bloody, and depressing film.
Rating:
Summary: Men who will not go to heaven
Review: Loyalty between criminals is a myth as Road to Perdition makes abundantly clear. One is readily betrayed for reasons of greed and perceived self preservation. Tom Hanks portrays Michael Sullivan, a gangster possessing solidly Catholic middle-class family values. Prayer and a sense of responsibility underpin his outlook on life. He obviously hopes for religious salvation, but can such a man be saved from eternal damnation? Sullivan is something of a stepson to Irish mob boss John Rooney (Paul Newman). He is also Rooney's number one enforcer and hit man. The latter has Sullivan accompany his son Connor (Daniel Craig) on a mission to calm down a distraught hoodlum whose brother has just been killed by Rooney's mobsters for allegedly stealing from the gang. Things go wrong and a number of men have to be killed. Unfortunately, Sullivan's older son Michael, Jr. (Tyler Hoechlin) has witnessed the massacre and at least one person is afraid that the young boy might go to the police. Connor murders Sullivan's wife and youngest son. It's time to for the remaining two male family members to get out of town. The killing never ceases as both father and son travel throughout the midwest seeking revenge and safety. Jude Law effectively plays the role of the vile contract killer chasing them. Director Sam Mendes superbly brings us back to the year 1931 and the action is non-stop interspersed with riveting dialogue. There are occasional lapses in logic, but the incredible acting of the cast members allows you to overlook these minor difficulties. Stanley Tucci especially deserves special mention as the low keyed and soft spoken organized crime leader Frank Nitti. Hanks and Newman will almost certainly be remembered by this year's academy award nominating committee. Road to Perdition is geared for an adult audience and easily earns five stars. It deserves to be on your summer can't miss list.
Rating:
Summary: A Splendid Follow-up
Review: With Road to Perdition, Sam Mendes has created an exceptional follow-up to his debut, the Oscar-winning American Beauty. Road to Perdition is the story of young Michael Sullivan (brilliantly played by Tyler Hoechlin). His father, also named Michael (Hanks) works for John Rooney (Newman), a man he loves like a father. However, after an assignment goes awry, partially due to the presence of his son, the elder Sullivan's wife and other sun are brutally murdered, setting him on the path for revenge. More than anything else, this movie is about rrelationships between fathers (and father figures) and sons. The Sullivan's journey draws father and son closer, while separating the elder Sullivan from Rooney. Brilliant acting and wonderful camera work bring a great story to the screen. However, don't go expecting to see a shoot-em-up gangster movie. It is very much a dramatic film, and one that is very possible to be mentioned when Oscar nominations are announced in February.
Rating:
Summary: Great Movie, Better Book.
Review: I read the Graphic Novel Road to Perdition by Max Allen Collins and Richard Piers Rayner when it was released by DC Comics' Paradox Press imprint years ago. To say I was blown away would be an understatement. This was one of the finest works of literature I have ever encountered. In any medium. PERIOD. It really distressed me that Collins and Rayner weren't getting money and awards heaped on them. No one seemed to have read it but me! Well, I guess it doesn't matter how many people read it after all, because apparently the RIGHT people read it, since it's now a big summer movie. Road to Perdition tells the story of Michael Sullivan, a mob button-man in prohibition-era Chicago, forced to go on the run with his young son, after the son sees Sullivan and Connor Rooney, the son of a powerful Mob-Boss (Wonderfully played by the great Paul Newman, who will probably get an Oscar for his part), carrying out a mission that goes horribly wrong, due to the trigger-happy Conner. The book and movie echo the classic Japanese Manga Lone Wolf and Cub, as father and son face incredible odds, leading to a fateful climax that will decide the boy's future. Jude Law is excellent as the Homicidal crime-scene photographer sent after the Sullivans, and Stanley Tucci does his usual great job as Frank Nitti. It's too bad that Anthony LaPaglia's Al Capone was left on the cutting room floor, as Capone's presence loomed large in the book. The adaptation, by David Self, veers WAAY off from the source material; The movie is much "Smaller" than the book, and omits the Capone Hotel massacre, the riverboat heist/fire, and changes the fate of young Michael to a more bland one. Overall, it's a very good movie, but as usual, the book was better. I can't urge you strongly enough to read Road to Perdition, published by Paradox Press; If you like the movie, you'll fall in love with the book.
Rating:
Summary: Emotionally-Charged Mafia Movie Showcases Hanks
Review: If you look the word "perdition" up in the dictionary you will see that it means loss of the soul or eternal damnation. In this movie, it is also the name of a small Illinois town. Or is it both? Michael Sullivan, Jr. opens the movie by telling the audience that some people said his dad was a decent person and some said there was no good in him at all. He then says he spent six weeks with him in the summer of 1931 and this is their story. Thus begins a dark, often touching, often disturbing movie about the Irish Mafia in depression-era Chicago. Tom Hanks is outstanding as Michael Sullivan, the father, a hit man for mob boss John Rooney, played by Paul Newman. A very different role for Hanks, but one he imbues with his talent so well this "good guy" is extremely believable as the "bad guy" for a change. All is going well until his son secretly goes along on a mission one night and witnesses Sullivan making a hit. And now the kid's life is in danger. His father appeals to the mob boss to spare him and is assured such will be the case. But when Michael Sullivan arrives home one night, a double murder assures him his life and his son's are marked. So begins their six-week journey to find safety at his sister's home in Perdition. The cinematography is outstanding in this darkly photographed movie where there is more rain than we've had since "Angela's Ashes." The costuming, the casting, the story are all flawless but it is Hanks, playing the cold-hearted killer who is also a loving father, who lifts this above the rest of the summer movie fare. You won't get the action or dazzling glamour of "The Godfather" but you will get a good film noir movie that showcases Hanks, gives outstanding scenes to Newman, and tells a story that keeps you riveted to the screen.
Rating:
Summary: Pray for Michael Sullivan
Review: In the new movie, "The Road to Perdition" Sam Mendes casts another stroke of genius on his impressive canvas of work. **Important Characters you will need to know**
Tom Hanks - Michael Sullivan
Paul Newman - Mr. Rooney (can't remember his first name, he is the gang leader)
Jude Law - Hitman hired to kill Michael Sullivan, takes pictures of all his victims
Jennifer Jason Leigh - Mrs. Sullivan, Michael's wife "The Road to Perdition" is a film about prohibition era, Irish gangsters. They are led by Al Capone, but locally by Paul Newman's Mr. Rooney. The film begins at the funeral of one of the gangsters, Finn McGovern. Finn was a good man, but was accused of stealing money from Mr. Rooney. After having too many drinks, Finn's brother gives a speech and begins to speak out against Mr. Rooney and the other gangsters. He is quickly shuffled out the door and Rooney dispatches Michael Sullivan and his own son to go talk to Finn's brother. At this meeting, Finn's brother continues to speak out and is killed. Michael Sullivan's son was hidden in the car and witnessed the entire murder. Doubtful that he can keep the secret, Rooney orders Sullivan and his family killed. It is a hard call for him to make because Michael was like a son to him. Michael is not home when Rooney's son arrives to deliver the hit, neither is the witness. They both come home to find the other half of their family killed by Rooney's son, ordered by Rooney. Upon the discovery of their dead family, Michael and his son are forced to go on the lamb. An expert hitman is hired to deliver the fatal blow to Michael (Jude Law), but experiences difficulty in getting the job done. "The Road to Perdition" is the story of Michael Sullivan and his son's time running from the mob. Along the way, they are faced with some very difficult choices. As the audience we are also faced with many difficult choices. The biggest choice we are faced with is the decision to accept Michael Sullivan as a hero. Sullivan is a murderer, but when his honor is challenged and the rules of the game change, so does he. What makes a person heroic? Sullivan risked life and limb to assure that his oldest son would not follow in his footsteps, is this heroic? Sullivan kills to protect his son, is this heroic? Sullivan also killed people as part of his job, does this make him a common criminal? In Mendes' previous effort, American Beauty, rose petals were a consistent theme throughout the movie. In "Perdition' water is the consistent theme, it is always raining. It adds to the setting. The movie is dark, the acting superb, the musical score compelling, and the action violent, but not gory. See this movie and see the Oscar winners for next year.
Rating:
Summary: Outstanding in all aspects
Review: I am not a fan of gangster movies, especially ones set in this era (1930s) but could not resist going to see Hanks and Newman together (oh, those eyes!). I am so glad that I overcame my prejudice because this was not at all what I consider a mob movie. The cast was truly an ensemble effort--no one actor really prevailed, although young Tyler Hoechlin probably got the most screen time. He was tremendous in his role as Michael Sullivan, Jr. I was a bit surprised about Jude Law's role---he probably spent no more than five minutes on the screen (but in a most integral way). Of course, Newman and Hanks dominated every scene they were in. The cinematography---what can one say about it other than it left me breathless with its beauty? It was just amazing to me (since I can barely take a decent photo!)- I want to see it again so I can just concentrate on the visual aspects rather than the story. This was truly a "picture show" in the best sense of the words. The music, too, was wonderfully conceived and performed. It never intruded but was a wonderful accompaniment to what I was seeing. The story itself was a bit unusual in that there were really no good guys and bad guys---there were only degrees of evil. I found myself pulling for Michael, Sr.-- only because of his devotion to his family and his agonizing inner conflicts, reflected in his often-brooding facial expressions. The story moves at a slow pace (except for the few shootouts) which allowed me to stay very involved. The themes of atonement and redemption are played out brilliantly. Seen through young Michael's eyes, we experience the agony and awe of the father-son relationship. This is a movie not to be missed.
Rating:
Summary: Outstanding
Review: The Road To Perdition is an outstanding movie. Just in short words, go see it! It's worth every bit of the money. Cant wait for the DVD version.
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