Road to Perdition (Widescreen Edition) Reviews

• Finally A New Mafia Movie!

  
  By A3RIIMSG5HB0J8 on 2002-06-28
  As far as I am concerned this is the first real gangster film since 1992's CASINO and if you have ever seen the two masterpieces that are the best movies in American history (Godfather Parts 1 and 2) you know that almost without exception mob movies are always great. (The reason I say CASINO is latest mob movie is because I don't really think HEAT is a mafia movie though it is also good.)

  This movie looks different. It looks to play the family angle since the premise is that Tom Hanks is playing one of Al Capone's assasins in 1930's Chicago and his son sees him doig a job on a poor victim. Now they have to flee together from Capone. (*NOTE: Paul Newman also plays Hank's father figure in yet another brilliant role for Newman) This looks to be an escape from the popcorn movies of the summer, even though some of them have been pretty good this year. This movie also looks to use historical figures. I don't know what Hank's character is named but I am fairly sure he was a real man and of course Capone is real as well. Another thing this movie has or really doesn't have is the Italian greats (Al Pacino, Robert De Niro, Joe Peschi, Ray Liotta, or even Andy Garcia) but that doesn't mean it doesn't have a stellar cast. These are three things the Godfather had and others did not have which is why this is my pick to win Best Picture (even though the Oscars are 8 months way)

  Don't let any tv spots fool you because a mere mortal guy could have as just as much fun as a high-and-mighty movie crictic in this one. Much like most mob movies you don't have to analyze eveything to realize its a great movie.

  Everyone is great in this movie. Not a suprise really but I am swallowing a lot of pride saying that Tom Hank's is great in this since I am NOT his biggest fan at all. Of course Paul Newman is great. The costumes are also exceptionaly well done. The lighting is good (one thing that made the Godfather). The plot is very interesting and sort of glorifies the mob and brow beats it all the same time, another element of the Godfather.

  The bottomline is with Star Wars, Spider-Man, Scooby Doo, etc. out there right now there are not too many movies a mature teen or and adult can go see and not be worried about any kiddie elements. Well this is that movie.

  One Thing you may want to know is:
  *WHAT IS PERDITION?
  I didn't know what Perdition was until I saw a previe guide that said it meant eternal Hell. This makes the title great and sort of a subject of conversation.

  Can this movie have the impact of the Godfather?
  Can it be as good as the Godfather?
  Will it be fun?
  Will it be an Oscar-contender?
  Well all those questions should be put to rest one way or another but at ant rate, I will see you in theaters July 12th when it opens nationwide.
  
  

• Will you love it? That depends.......

  
  By A2V3H0BIB4W1Q2 on 2003-02-14
  This film is very strong. It understandably has many flaws (this only the second film from director Sam Mendes.) But whether or not you will find any joy in this artistic gangster film depends on what kind of gangland films you are accustomed to.

  Basically, modern gangster films break down into two groups. You've got your Scorsese-ites and your Coppola-ites.

  Your basic Martin Scorsese fan will love movies like "Goodfellas", "Casino", "Mean Streets." They will watch and enjoy films like "Donnie Brasco," "Heat," and "Training Day." Scorsese-ites will watch the Sopranos religiously and enjoy TV series such as "The Shield" and "Kingpin." Scorsese-ites love the gritty, hard boiled reality of gang life. A life, which ultimately has tragic consequences for the film's characters.

  A Francis Ford Coppola fan will, on the other hand, be a fan of films like "The Godfather" and it's sequels. A Coppola-ite enjoys films like "Scarface" and older films of the Noir genre such as "The Big Sleep," "Public Enemy," "The Maltese Falcon," "Key Largo," and other Bogart efforts. The Coppola fan enjoys the myth of the gangster. The unrealistic and glamorous depiction of gang life seen in the Godfather trilogy. These films are `tone poems,' and "Road to Perdition" belongs in this category.

  "Road to Perdition" is an art film, no doubt about it. The storytelling is surrealistic and quite removed from reality, as told through a child's eyes. It's really quite cerebral, and will give gritty, hard-boiled reality fans a disappointing display. Remember, it is a visual poem, not a historical document.

  Bottom Line: Gangster fanatics will love it or hate it, depending on how much `art' they want in their movies.
  
  

• Elegantly Made But Unexpectedly Superficial

  
  By ACIBQ6BQ6AWEV on 2003-03-09
  Based on the graphic novel by Max Allan Collins, which was in turn based very loosely on various factual stories of the 1930s, THE ROAD TO PERDITION tells the story of Michael Sullivan, a family man and thoroughly nice guy who also happens to be an enforcer and hit man for the Irish Mob. Sullivan strives to keep his homelife separate from his work--but son Michael Jr. precipitates disaster when he follows his father and witnesses a murder. Determined to both protect his son and have revenge on the mob boys who have suddenly turned on him, Sullivan goes on the run with Michael, and in the process finally "finds his heart" through his determination that young Michael will never walk his road.

  There is a great deal to like about this film. The cinematography is astonishingly beautiful and extremely well supported by the editing, which is among the best I've ever seen, and the soundtrack, which lends the story a meloncholy depth. Many of the cast members are also exceptional, most particularly Jude Law, who creates perhaps the most chilling killer seen on screen in a decade. But the film has two significant problems: the plot and the star.

  There are several issues with the plot, and the overwhelming one is its predictability. There is nothing new until one reaches midpoint, when Sullivan--with the assistance of his son--attempts to force the mafia to permit his revenge via a series of bank robberies in which he takes only mafia money. This was quite an original idea, and very intriguing, so I was doubly frustrated when the film took yet another predictable twist that effectively negated that rather large chunk of film time. The other issue here is Tom Hanks. Hanks is an extraordinary actor, and the role of a hitman seemed a unique opportunity for him to blow off the super-likeable parts for which he has become famous. But instead of doing this, Tom Hanks essentially gives a standard super-likeable Tom Hanks performance, and I found it increasingly difficult to believe him as a mob enforcer, much less to give his drive for bloody revenge any creedence.

  When all is said and done, what is left is a film that essentially holds you by virtue of sheer cinematic technique. THE ROAD TO PERDITION has an amazing sense of style and creates an amazing visual portrait of the era, and that--along with such performers as Jude Law--held my interest to the end. But far from "finding its heart," the film is hollow, a matter of style over substance, and I found the story obvious, the conclusion foregone, and the statement commonplace. While I did enjoy the film, I do not expect to revisit it. As for the DVD itself, it is a nice package, with the visual and aural elements extremely well done; I found the bonus material, however, as bland in content as the film itself. Now, this film has garnered many fans, and I say if you can get something out of it, more power to you, and it will be well worth the investment. But at the same time, I would suggest that you rent this one before you purchase it, for you may just as easily fall into the other catagory--in which case you'll consider THE ROAD TO PERDITION barely worth the trip.
  
  

• I say "He was my father."......

  
  By ARA48345JZPZR on 2002-07-14
  This is no hype, this is a great, great movie. A dream cast, literally flawless down to the smallest part, tells a tragic tale of loyalties betrayed and of bonds broken and bonds established. Conrad Hall's cinematography is casually stunning and every production detail is meticulous and authentic. The past is captured with intelligence and care.

  Sam Mendes has found a way to tell this tale of violence and murder with great style and grace. His choices throughout the film are brilliant, whether in unexpected closeups or thoughtful and unusual camera placement and angles. The use of weather (rain) and locale and the look & tone of the piece are marvelous. None of his work is forced and it flows and melds nicely. With this, only his second film, he has established his place in the forefront of today's filmakers. Truly remarkable work!

  I will not give the details of the story other than it involves Irish mobsters who are affiliated with Al Capone in Chicago, and how things go terribly wrong when a son discovers his father's (Tom Hanks) business. An aging mob boss (Paul Newman) must make the terrible choice between a baseless son and his adopted son whom he truly loves.. Their world is turned upside down and a quest for survival becomes a quest for redemption as well.

  As I said at the outset the cast is superb: Tom Hanks is completely believable in a different, darker role than we have seen him play before. Paul Newman nails the contradictions in this charming but deadly old gangster. Jude Law is spot-on as an amoral hitman. And Daniel Craig makes an impression as the envious son with the constant smile but no laughter in his eyes. Stanley Tucci does a nice small part and all the minor characters are fine. But, the great work are the scenes between Newman & Hanks and Hanks and Hoechlin. Fathers & sons and the mysteries & contradictions always inherent in those relationships.

  Thanks to Dreamworks and the producers for, again, releasing a serious film for adults in the Summer. A welcome relief from the hyper noisy and busy popcorn movie season.

  This is as fine a piece of filmmaking as you're likely to see in a while. First rate in all departments. Not to be missed.
  
  

• Only Michael Jr. has a chance to get into Heaven

  
  By A1TJPMB7N776WS on 2002-07-15
  Sam Mendes' "The Road to Perdition" is a film about family: extended, brother against brother, father and sons and ultimately father against sons. It's about the world of Men in much the same tradition as "East of Eden," which it thematically resembles. Mendes tackles big ideas here: the sanctity of the family, a father's love of family, a father's right to protect his family and a natural versus an adopted son's place in a family (the right of succession). But Mendes uses the small details of life to develop these themes so that his lofty ideas have a pervasive as well as persuasive effect on the viewer.
  Michael Sullivan (Tom Hanks) is a family man (2 sons, Michael Jr. and Peter) who works for John Rooney (Paul Newman) as a bodyguard and hit man. John has a son, Connor (David Craig)who is intensely jealous of his father's relationship with Michael. It is obvious that John prefers Michael: strong, obedient, intelligent, over his natural son, Connor: weak, smarmy, conniving, underhanded, hotheaded.
  One evening, Michael Jr., eager and curious to find out what exactly his father does for a living, hides in his father's car while Michael Sr. goes out on a "business call" with Connor to strong arm an associate that ends with Connor recklessly killing the associate with Michael Jr. witnessing the entire event.
  This proves to be the turning point in the film and the event that sets the remainder of the film in motion: can Michael Jr. be trusted to keep his mouth shut? Connor has some definite ideas about this.
  One of the most impressive set pieces of the film is a showdown between Michael and John Rooney and his henchman on a public street at night in the pouring rain, shot with absolutely no sound nor blood in sight. It is as effective in it's way as the last, very bloody scene in "Bonnie and Clyde."
  Conrad Hall has shot the film in a dark, grayish, almost colorless palette very similar to
  "The Yards," also coincidentally a film about a family involved in crime. The criminal life for Hall and Mendes then is not the chiaroscuro life that Coppola envisions it in his Godfather trilogy, but one of black and gray signifying a life of hiding, back alleys and drudgery devoid of color, enjoyment and living. The music is also extremely effective and evocative especially since Mendes has shot large portions of the film without dialogue.
  The acting is top drawer with Tyler Hoechlin as Michael Jr. almost stealing the picture away from the always effective Tom Hanks, Jude Law and Paul Newman.
  Sam Mendes has fashioned a film of the utmost purity and beauty: a tone poem to the family and to the father-son relationship in particular.
  "The Road to Perdition" is a film that resonates with regret and sadness but more importantly an over-riding feeling that, as gangsters "getting into heaven"as John Rooney states... is not a possibility.
  
  
• "There is only one guarantee. None of us will see Heaven."
  By A319KYEIAZ3SON on 2004-11-27
  This suspense-filled story of hitman Michael Sullivan, directed by Sam Mendes, has as much style and cinematic brilliance as his American Beauty, though it is much darker. Sullivan (Tom Hanks), the adoptive son of John Rooney (Paul Newman), is a cold-blooded killer working for his crime boss "father" in the winter of 1931, when his own twelve-year-old son, Mike Jr., inadvertently witnesses a "hit" in which his father participates.
  
  Subsequently, the Sullivans, father and son, take off for Chicago to meet with Frank Nitti (Stanley Tucci), underworld lieutenant to Al Capone. Mike Sullivan, Sr. is also hoping to get to Perdition, an appropriately named Midwestern town, so he can leave is son with his sister-in-law. Sadistic hitman Harlan Maguire (Jude Law), who enjoys photographing the death throes of his victims, is soon on the Sullivans' trail to through the midwest.
  
  Conrad L. Hall, to whom the film is dedicated, uses photography to its fullest advantage winning a posthumous Academy Award for his cinematography. Shot in winter, the film preserves the flavor of early black and white films, with sharp contrasts, and the use of dark, somber colors, when colors are used at all. Snow, ice, rain, and fog perpetuate the cold darkness of the scenes, and Hall's use of architectural framing is stunning, particularly his repeated use of windows. He keeps the scenes simple, often focusing on individual characters in contexts which reveal their emotional states. In one memorable scene, for example, light from a streetlight outside a window casts the shadow of rain on an interior wall, suggesting both tears and cleansing.
  
  Newman is terrific as an aging mob boss, playing his part with just the right mix of frailty and cruelty (for which he was nominated for an Academy Award). Tyler Hoechlin, as 12-year-old Mike, Jr., reveals his fears and vulnerabilities at the same time that he shows his satisfaction as the center of his father's attention (winning Best Young Actor from the Broadcast Film Critics Association). Jude Law, made up to look like a true, wild-eyed psychopath, is terrifying. Hanks looks menacing and acts viciously until his concern for his son overtakes all other emotions in a moving, climactic scene, though it is difficult to accept him in the role of a hitman.
  
  Period music adds style to the film, and original music by Thomas Newman (and the title song by John Williams), mostly piano and strings, preserves the period tone. Filled with the horror of violence and considerable suspense, this noir film gives a human face to mob violence in the thirties. Mary Whipple
  
  
  
• Now thats what I call perfaction!!
  By A1J8SE2FOH6HDH on 2003-02-17
  To be honest i wasnt dying to watch (ROAD TO PERDITION), actually i did miss it in the theartical release. But after i heard how good it is i decided to add it to my DVD library. after i finished it i dcouldnt stop my hands from clapping and my mouth from saying PERFECT! Great perfomnances, a stunning direction, gorgeous music, a fine screenplay, and real entertainment! When you find this factors in a movie you can only say its a perfect one. The only problem is the DVD edition, the only intresting feature is the deleated scenes. No making of, interviews, nor theartical trailer although these stuff are allready available. Dreamworks home entertainment needs to improve it's movies' features. Hollywood ending is nearly featurless, American beauty is well featured, but not enough for such a classic, at least it disserved a 2-disc edition. the same goes with road to perdition
  
  
• They suffered pain. And I suffered boredom.
  By A17FLA8HQOFVIG on 2002-09-06
  There's a star-studded cast in this film, directed by Sam Mendes of "American Beauty" fame. And there's some excellent cinematography. It's about gangsters in the 1930s, with emphasis on father-son relationships. I was prepared to enjoy it. I didn't.

  The story takes place in 1931, and Tom Hanks is cast as a mob enforcer who works for the boss, played by Paul Newman. When Hanks' 12-year old son, Tyler Hoechlin, is witness to what his father does, the plot is set in motion. There are tragedies galore as each character meets an awful fate, some at the hands of Jude Law, cast as a killer who photographs his victims. With high drama like that, I should have been sitting on the edge of my seat instead of yawning and looking at my watch.

  The cast tried, they really did. All the acting is wonderful. But the screenplay moved too slowly. And the director had most of the scenes take place in the rain or snow or bitter cold. It was all heavy stuff, without a bit of lightness. I never did identify with any of them, as they just were a little too soaked in tragedy to be real.
  
  

• What film were they watching?
  By on 2003-11-08
  It amazes me that there are so many reviews praising this film. I expected a lot from it, but it delivers next to nothing. It is just an extremely ponderous, boring movie. I guess you can sell anything to people if you put a 'star' in it. The only good thing going for it is a few scenes that were filmed masterfully. So the bottom line is you get a few flashes of cinematic brilliance in an otherwise dreary, boring and forgettable film.
  
  
• Rotten to its core.
  By A361LE16VBQDP8 on 2002-10-13
  This is the worst movie I have seen for some time. The values underlying every aspect of its production are appalling. It stands as an indictment against the entire Hollywood system.
  *
  Yet again the alleged 'code' of criminals is made to do moral work. Are we meant to be impressed, or jealous, that the Mafia and their Irish equivalents have 'rules' to live by? What if these rules are both brutal and stupid? Not even by analogy are Mafia/Irish gangs institutions worthy of admiration, less still of imitation. In 'Road to Perdition' such values as loyalty and devotion to one's family are debased through their association, indeed their embodiment, in these criminal circles. Being a hired thug and murderer, as is Tom Hanks' Michael Sullivan, is depicted as being, in many respects, a job like any other. This is a crude and improper place to start a film, and things only decline from here.
  *
  Vengeance and self-preservation are the prime motivations for the Sullivan character's actions. Any 'complexity' is in the form of him reconciling his gratitude to Paul Newman's John Rooney, a surrogate father, with the fact that Rooney now wants to kill him. The morality here is not complex, but simple-minded.
  *
  If you have any doubt as to what you should be feeling at any particular moment in this film, don't worry, the didactic director will be only too willing to help. The intrusive and bombastic score is laughable. Swelling with predictable regularity, the score seeks to manipulate your emotions at every turn. The orchestration itself veers towards the bizarre, with entirely superfluous panoramas of 1930's Mid-Western America being accompanied by a mix of New Age ambient doodlings and Latin American woodwinds. The lighting is uniformly low, and the colour palette, as seems to be the fashion in Hollywood nowadays, is limited to blues and browns - indeed, the director appears to be in love with his art director, as he lingers lovingly on period details in the set, providing a handsome backdrop for what is ultimately a bloodthirsty and mindless spree of killing. Murder never looked so good. But I exaggerate - murder often looks great when Hollywood is concerned.
  *
  The story comes from a comic book. Literally. The comic book was written by Max Allan Collins. That the characters are then two-dimensional should hardly be a surprise. Tom Hank's character does not develop at all. He begins the film as a killer with a streak of loyalty towards his family and protector, and he ends the film unchanged. No other character fares better - Paul Newman shows all the depth that won him an Oscar in 'The Color of Money'. Jude Law impersonates Charlie Chaplin, and substitutes quirks for depth of characterisation. And the child actors implausibly remain as unmoved witnesses to the entire squalid tragedy.
  *
  The formulaic injection of 'humour' for 'comic relief' is clumsily done and occurs in very inappropriate circumstances - thus the director follows gory scenes of cold-blooded murder with the alleged humour of a twelve year old awkwardly learning to drive. Truly pathetic. Cliched symbols of homeliness and security duly appear in the form of a delapidated homestead replete with kind aged couple, and a shanty by the sea with obligatory friendly dog.
  *
  A further disgusting element in all of this is the use of the twelve year old child as the narrator. In the hackneyed Hollywood tradition the child is sacred and, in some important way, innocent - this, again simple-minded, tradition is here twisted, so that the child's idolatry of his father blends uncomfortably with idolatry of guns, vengeance, and viciousness. The messages here are disturbingly close to some of those propagated by the Nazi party, and need to be condemned outright. There is an attempt to undercut this through a 'hopeful' ending, but this could hardly be any weaker - the entire body of this over-long film is an aesthetically beautiful tale of bloodshed and blood-bonds. To see a twelve year old smiling, leaning out a car window as the wind rushes through his hair, glad to be with his father, immediately after his father has shot and killed a dozen men, is morally abhorrent, if you stop to think about it, but of course the last thing Hollywood encourages you to do is to stop and think.
  *
  Tom Hanks' and Paul Newman's proven abilities to deliver wooden performances serve them well here. If life is like a box of chocolates, Tom seems to have a nose for the sickly-sweet and purulent centres. Sam Mendes rises to join the likes of Steven Speilberg, with this over-wrought and misguidedly self-important effort. And Tom Newman, responsible for the score of the nauseating 'Shawshank Redemption', pushes the envelope still further - this is not so much music as an aural emetic.
  *
  All in all a terrible showcase for all that is wrong with American film-making.
  
  
• Pacing and Miscasting hurt this film.
  By AZ5250G2U795I on 2003-01-06
  I was enthusiastic about seeing this film. The cast and story really held a lot of promise, and reviews I had read up to that point were promising.

  While it was a text book 'good film,' I just couldn't buy Tom Hanks as an assassin. I certainly don't fault Hanks for this, but the way the character was written, I didn't see much opportunity to develop that aspect of a redemptive-cold blooded killer. If this premise doesn't work for the main character, suspending disbelief for the rest of the film is a little difficult as well.

  And the pacing. While it's not a lightening-charged piece of entertainment, the pace is slow and methodical. But sometimes it gets so slow that your mind is given ample opportunity to wander. A well-constructed film doesn't give you the chance to do that. I felt this could have easily lost 30 minutes and been better for it.

  I can't give this a hearty recommendation, but if you insist, it's not a bad film.
  
  

• Perfect movie.
  By AO3JW5VHT2GQ on 2003-04-06
  Summary:
  Michael Sullivan, Jr. (Tyler Hoechlin) has a hitman for a father, Michael Sullivan Senior (Tom Hanks), but doesn't know it. When Michael Jr. follows his dad to a job to find out what it is his dad does, he is caught by his dad and his dad's boss's son, Connor Rooney (Daniel Craig (I)), who is the heir to John Rooney's (Paul Newman) fortune. To cover his tracks, and perhaps out of jealousy, Connor tries to get Michael Senior killed while he kills the rest of the family, including Michael Jr. But Michael senior catches on to the plot and gets away while Michael Jr. doesn't happen to be home when Connor makes his hit, killing instead Michael senior's wife and other son Peter. Michael Senior is smart enough to know that he has to skip town, but he also has to avenge his wife's death by killing Connor. So, the two Sullivan's leave but another hitman, Maguire (Jude Law), is sent to kill them. Michael Senior tries to bait the Chicago mob bosses to give up Connor Rooney by stealing their money but it doesn't work. Eventually he realizes that the only way to kill Connor is to kill Connor's dad, John, so the Chicago mob bosses will stop protecting Connor. Michael Senior avenges the murders and gets away only to end up with Maguire still hunting him.

  My Comments:
  This is a remarkable movie. The acting is superb. The music is impeccable. The cinematography is stunning. It is just an all around wonderful movie. There is one scene in particular that was just so well done that I'm still amazed. It is when Michael Senior kills John Rooney. John and his henchman are crossing the street in a torrential downpour when Michael opens fire. Instead of hearing both the rain, the gun shots, and the sounds of dying men, all we hear is music as Michael, in slow motion, kills five or six of John Rooney's henchman. It isn't until John is the only one left standing that the actual sound comes back up and then, when Michael finally kills John, we hear everything.

  I was thoroughly impressed with the story. It seemed completely logical and plausible and worked very well. The movie was tasteful enough not to show gratuitous violence. Sure, the movie is violent, but there is really no reason to show a lot of it, leaving most of the violence to the audience's imagination. The focus is the story. And, the setup to the story is superb. Michael Jr. is telling the story in retrospect, and discussing whether or not his father, who was a hitman for the mob, was a good man or not. In the end, Michael Jr. doesn't say whether or not his dad was a good man, that is left up to the viewer to decide, but he does claim him as his dad, which says plenty.

  Overall, I loved this movie. If you don't particularly care for violence or are not interested in the mafia, then you may not like this movie as much as I did. But, you'll probably still be entranced by a very compelling and touching story. A definite must see.
  
  

• Gorgeous, Oscar-Groomed, and Hollow as Can Be
  By A3DE1IYJGU5HPW on 2002-07-18
  Do you remember Easters of your youth, when you discovered a gigantic, gold-wrapped chocolate rabbit sitting in your basket? Remember how delicious it looked, and you knew, from the packaging, that it must be tasty and you would be working on it for a good two weeks? And then remember how, when you bit into the rabbit and found out the stupid thing was hollow, you thought that Someone Up There must be mocking your trivial existence? Sam Mendes� (�American Beauty�) new film �Road to Perdition,� based on the graphic novel of the same name, manages to illicit the same feelings � and that�s about the only feeling it creates.

  Paul Newman is an Irish mob boss in a smaller Illinois town in 1931, part of Al Capone�s crumbling empire (remember, Kevin Costner put him in jail by now). Tom Hanks is one of his hit men, whose luckless son (newcomer Tyler Hoechlin) witnesses Hanks killing someone. When Newman�s jealous son, played by Daniel Craig, decides to protect his name by killing Hanks� family, Hanks and his surviving son take off on a road trip (to, you guessed it, Perdition, Illinois), hoping to convince the mob bosses in Chicago and his hometown to let him execute Newman�s kid.

  So the whole story is about revenge. Granted, Shakespeare did pretty well with that subject, but traditionally, it doesn�t allow for much character development, and less emotion, other than �we got the bad guys! Yippee!� This is �Road�s� biggest flaw: the plot, when all else is stripped away, is pencil-thin and the characters ultimately two-dimensional. Hanks and Newman both turn in stellar performances, but their characters aren�t as memorable Hoechlin�s, simply because he was given more of a chance to develop and show a range of human emotions. And, all of them are beaten out by Jude Law, who manages to turn a bit-character into the most memorable one in the film.

  Like last year�s �A Beautiful Mind,� �Road to Perdition� smacks of Oscar grooming. With top-notch directors like Mendes, cinematographers like Conrad Hall, and actors like Hanks and Newman, it�s hard to go wrong, but like that chocolate bunny, there just isn�t anything underneath the exoskeleton. Whether it�s because the plot was thin (there are repeated ideas of �family,� but �The Godfather� blew �RTP� out of the water on that count) or a poor script for the main actors, the film ultimately sinks under its own weight. Add to that a heavy-handed voiceover at the end telling you exactly how to feel (unlike the appropriately ambiguous one in �American Beauty,�) and you�ve got a movie for the masses and the Academy, but thinking filmgoers looking for that solid chocolate will have to look somewhere else. �Road to Perdition� is beautiful and tasty, but it�s all fluff and style with zero in the substance department.

  Final Grade: D
  
  

• No warm and fuzzy Tom Hanks here
  By A2DSXA1E02C86D on 2002-07-27
  ROAD TO PERDITION is a major departure for Tom Hanks. He kills people. And don't expect to see Meg Ryan as a cutely tousled co-star. Besides, it rains so much in this film that it would've made her look like a wet doggie.

  It's 1931, and Hanks plays Michael Sullivan, an enforcer working for crime family head John Rooney (Paul Newman). Though Rooney has an adult son, Connor (Daniel Craig), he regards Michael with the affection reserved for the son he wishes he'd had. Sullivan himself has a wife and two boys. In the film's first half-hour, Connor botches a job assigned to him and Michael by the elder Rooney. In the aftermath of the debacle, Connor kills Michael's wife and his youngest (and favorite) son for reasons too complicated to explain here. For the remainder of the film, Sullivan goes on the lam with Michael, Jr. (Tyler Hoechlin) seeking revenge against Connor while evading a hit man named Maguire (Jude Law) reluctantly hired by John Rooney to pre-empt the reprisal slaying of his own badly behaved offspring.

  Those who are turned off by ROAD TO PERDITION because of the bloody deeds performed by Hollywood Good Fella Hanks, akin to watching Jimmy Stewart in the role of someone who kicks puppies, are perhaps missing the point. This is a powerful tale of the dynamic that exists between fathers and sons: John and Connor, Michael and Michael, Jr., and John and Michael. This is a Guy Story to be sure. Indeed, in the entire film there's no female lead worth mentioning and very little softness. Much of the magnificent cinematography is done in the dark, brooding atmospheres that one could expect in the Male's Cave. That's not to say that there's no humor. There's a sequence of scenes depicting the young Sullivan's mastering of driving skills that, in the context of the storyline, is positively priceless.

  Early on, Newman, the mega-star of yesterday, and Hanks, the mega-star of today, play a piano duet (for real). But the sentimental favorite of ROAD TO PERDITION has to be the former, and I foresee a nomination for Best Supporting Actor. Newman's blue eyes continue to shine out of a face that age (and perhaps cosmetic surgery) has only made more striking. Moreover, Paul's Rooney expresses more raw emotion in his relationship with his son than Tom's Sullivan can manage in his. Perhaps this was an intentional part of the script, or perhaps it's a reflection of the accomplished old pro that Newman is and Hanks has yet to be. And Law is especially good as the sinister and creepy Maguire whose hits provide fodder for his day job.

  I liked this film a lot because it focuses on the nature of the father/son relationship, something which Tinseltown usually ignores. This is likely to be one of the better films of 2002.
  
  

• Flawed but still amazing masterpiece.
  By A1XX5797TIZT5Q on 2002-08-04
  Road to Perdition is so ambitious that any flaws it may have are made irrelevant by the film's grandiosity of vision, technical brilliance, and unique sensibility.

  Several members of the production team were carried over from American Beauty -- director Sam Mendes, legendary cinematographer Conrad Hall, brilliant composer Thomas Newman -- but the two films are apples and oranges. What they do share is a sense of boldness, narrative voices that are unique and distinctive.

  Hall's photography is once again superlative -- and the larger, more elegiac tone of this film allows him even more room to dazzle with his visual magic. Thomas Newman's score is inscrutable, once again so intrinsically woven into the fabric of the film that it becomes a seamless part of the whole, enhancing the action rather than sticking out from it.

  The acting as a whole is wonderful. Paul Newman still has the ability to ignite the screen with a look; young actor Tyler Hoechlin is terrific as lead character Michael Sullivan, Jr., the gangster's son in danger of following his father's path; and Jude Law is fantastic and eccentric as psychotic hitman Maguire, opting for an engrossing low-key menace. Tom Hanks is the weak link in the first half of the film; his character is not a well-defined one for a good 45 minutes, and his repressed performance doesn't help. Fortunately he comes to life in Act 2 of the film with the first bank robbery. A good thing, for the film's emotional impact hinges on him, and from this point on he acquits himself well. However, I can't help but think an actor like Liam Neeson (remembering his powerhouse performance in Neil Jordan's Michael Collins) could have brought much more fire, volatility and charisma to this role. Nonetheless, Hanks works well enough, even if he's one of the flawed elements. There is a small number of scenes that last a little longer than they need to, as well, even though as a whole the film is quite well paced, and even when scenes run long, the eye-melting cinematography tends to keep you from becoming disengaged.

  One of Road to Perdition's greatest strengths is that it is unlike any other gangster film in history. While its themes have been touched upon by the Godfather series, its approach -- kind of a hybrid noir gangster/mismatched buddy/road movie -- is very original indeed. Just for that, I'd recommend it as essential viewing. And there is more to be discovered.
  
  

• Mendes And Gentlemen . . . On The Road To Perdition
  By A27PSZX2SE0B51 on 2002-07-15
  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.
  
  

• Pray for Michael Sullivan
  By A2VF3BXFXXTEPL on 2002-07-14
  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.
  
  

• Or, The Road to Pretension
  By A3AP4EXJT1R2W0 on 2002-08-10
  Genuinely awful. A glop of pretentious falderal. Horribly directed, embarrassingly bad acting, a truly uninspired script. Beautiful cinematography does not a great movie make. One of the most overrated films of all time.
  
  
• not terribly pleasing
  By A1WOFFWF8UYPJ2 on 2002-08-13
  Tom Hanks plays Michael Sullivan, an enforcer for the Irish Mob in the 40s. Sullivan's boss is John Rooney, Paul Newman, and the two have almost a father/son relationship. Unfortunately this relationship eclipses the relationship between Rooney and his real son which leads to Sullivan's downfall.
  After Sullivan's wife and youngest child are murdered by Rooney's son, he finds himself on the run with the child that he has not developed the closest relationship with. The two begin to bond while on their journey and find that they have more in common than they thought. Ultimately Sullivan is gunning for revenge and this leads him well on the road to judgment.
  For lack of a better description I would call this an "adult" action movie. There are many things going on, yet that doesn't downplay the fact that this is a violent movie filled with primarily bad characters. Unfortunately, while I say there are many things going on, there are also a lot of times where things are just static and the movie drags. I also found the ending more than a little anti-climactic and can't fully recommend the movie for that reason.
  
  
• Beautiful
  By A1PQNUIMLIOJ7R on 2003-01-16
  Sam Mendes' "Road to Perdition" is for sure the most incredible motion picture of the year. Wonderfully directed by the acclaimed Sam Mendes (Academy Award Winner-Best Director-American Beauty). Don't let that scare you though! This film has no sexual nature to it at all. The R rating is due to pervasive disturbing violent content, and profanity is scarce. Tom Hanks gives the opposite performance than usual, as a killer and bankrobber. Jude Law and Paul Newman gave exceptional performances as well. The feature length was about 2 hours long, and certainly was not an action-packed, special effects thriller, rather a slower moving, yet still very interesting piece of art. Tom Hanks, who usually takes on very emotional characters, gave a rather unemotional performance, but there was a very subtle hint of the normal Hanks. As my closing comment, every aspect of this movie was perfect, and I can't wait until Feb. 25 to purchase the dvd.
  
  
• The best movie of the year
  By A2W81Q2GQG327T on 2002-07-13
  [...]Go see Road to Perdition. That's pretty much all I have to say. I'll go on about all of the top-notch acting, cinemetogaraghy, production design, music, etc., but the point here is to see it.
  
  I'm not going to talk about the plot that much, but if you look at the movie poster, you should be able to at least guess most of it right there. Anyway, the acting is the best I've seen this whole year, with stellar performances by Tom Hanks, Paul Newman, Jude Law, and Daniel Craig. The scenes between Tom Hanks and Paul Newman were great. Of course, it's always great to see two phenomonal actors on-screen together. More importantly, the chemistry between Tom Hanks and Tyler Hoechlin (his son in the movie) is wonderful.
  
  The production design is also very noteworthy. Throughout the movie, we are filled with the lush cityscape(s) of 1931. (If you have seen The Untouchables, the set desgin is a bit like that, but stepped up a notch.) We also are taken in to speakeasies, mob warehouses, and other landmarks of a 1931 era city, all rendered in exact detail as far as I can tell. The cinemetogarahy is exactly on the same level as the production design, showing in great exactness the landscape of cities in 1931. The music is also great, giving an epic, but sad, look at the movie.
  
  For those of you who are looking for a big gangster action movie, look elsewhere. Although there is some shooting, (most of which is very bloody/gruesome) this is NOT the movie for action fans.
  
  All in all: Road to Perdition is a modern masterpiece, complete with phenomonal acting, great music, fantastic production design, and heart-wrenching drama. A must see.
  
  2002; 117 minutes; RATED R for some strong bloody violence; language; and overall emotional intensity
  
  
• Dark, somber, meticulously crafted. One of 2002's best
  By A152C8GYY25HAH on 2003-03-02
  "Road to Perdition" is brilliantly conceived by director Sam Mendes ["American Beauty"] and stunningly photographed by the late Conrad Hall, whose illustrious career garnered him two Oscars and ten nominations. One of those nominations is for this film. Tom Hanks, Paul Newman and Jude Law, among others, give great performances. It is among the best movies of 2002, but it is only fair to warn potential viewers that this is no lighthearted joyride. It is an unrelentingly dark and somber tale; `perdition', after all, is another word for hell.

  The year is 1931, the place is a small town not far from Chicago. Prohibition has spawned a nation of thugs and gangsters. Legitimate businesses have become hubs of criminal activity. The town is run by a ruthless Irish family headed by John Rooney [Paul Newman] His real son, Connor [Daniel Craig], is his cynical, hot-headed heir, and his adopted son, Michael Sullivan [Tom Hanks], is his enforcer. A great rivalry exists between the two sons. One rainy night, one of the Michael's boys, twelve year old Michael Jr. [Tyler Hoechlin], hides in his father's car and goes along on a job. What he witnesses forever changes his life, puts the rest of his family in mortal danger, and gives John the perfect opportunity to rid himself of his rival. It also gives Michael Sullivan his only chance to see that his son does not become like him.

  The movie is beautifully rendered in dark tones, giving it the look of a nightmarish dream. This is appropriate because the story is told from the boy's point of view and is a memory from his childhood.

  "Road to Perdition" is not intended to be realistic. It, like the graphic novel it is based on, is a fantasy. It plays like an updated Greek / Shakespearean tragedy, and its mood is almost operatic. From a commercial point of view, it might have benefited from a bit more levity, but I admire Mendes, a true artist, for keeping his vision consistent and true. It is a movie which will be remembered long after most of 2002's releases are forgotten.
  
  

• Road To Pretentious
  By A3K6OI69NCN7XV on 2004-08-18
  You can't judge a book by its cover, eh? Just look at the DVD cover above for god sakes. With that egghead and caterpillar mustache, Tom Hanks is about as intimidating as Elmer Fudd (who would have been more convincing in the role by the way)! I sat through this trainwreck twice and oh snap, was I disappointed. Bad casting, contrived dialogue and unrealistic situations wrapped in fancy art direction. As for Paul Newman...yikes! Wrap him back up and stick him in his sarcophagus. His acting (in this movie) is so wooden I wanted a doc to shine a penlight in his pupils. Sam Mendes needs to learn that there is more to film noir than fedoras and rain-soaked streets. And don't tell me I'm missing the point. I know it's a gangster movie that examines the awkward father-son relationship, but "A Bronx Tale" and "The Freshman" did that already and so much better. Let's face it, for all the art-house hype this DVD is now sold from the bargain-bin at your local wholesale store so don't waste your time or money. I like Sam Mendes but he needs to stay away from hip graphic novels and stick with everyday drama in suburbia.
  
  
• Emotionally-Charged Mafia Movie Showcases Hanks
  By A3BIWTN2DA0YY2 on 2002-07-14
  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.
  
  

• Less than the Sum of its Parts
  By A2Y7O4ZH4H37ZU on 2002-07-16
  "Road to Perdition" starts with a bang, but ends with, if not a whimper, at least a guffaw. The beautiful, atmospheric opening introduces us to a set of the most interesting relationships presented by a filmmaker in the past several years. (The touching relationship between mob boss Newman, and Hanks, his surrogate son, infuses the film with an emotional resonance that few recent movies can match.) The plot commences with an excellent "MacGuffin"- the murder of Hank's wife and child- that seems to portend a melding of great characters, great acting, and great storytelling. We only get the first two.

  The narrative loses its focus after father and son hit the road. The hired killer, played by Jude Law, is no more than a cartoon, and the final confrontation between Newman and Hanks owes more to Hollywood than Chicago. I won't spoil anyone's fun by describing the final sequence. Suffice to say that it is wildly improbable and melodramatic. It even betrays some specific character information carefully illustrated earlier in the film.

  One note: A Die-hard trivia buff's enjoyment may be tempered by one egregious historical error. The Lone Ranger novel read by Michael Sullivan, Jr. did not exist in 1931. The character was not even created until 1933, and would not be known outside of the Detroit area for years after that.
  
  

• A movie that speaks to your soul and conscience.
  By A3TZ7FA64V6OLI on 2002-07-18
  If a movie can make you think, if it can make you rethink anything about yourself or how you feel. It's made an affect on you, therefore it is moving; it is powerful, and you can't deny it. You've felt it and experienced it.

  If a movie can make you feel, if it can make you physically express that emotional in which it brings out in you, it is moving; it is powerful. You will probably never forget how its made you feel.

  But if a movie can do both, it's more than just some flick you caught in the theatre or rented or even one that you've bought. It's a part of you and it is undeniable. Only a few movies you will ever see in your life will do this to you...if any. But Road to Perdition has managed to affect me in both ways. This is a movie about the life of gangsters, in a way, but what this movie really is about is the relationship between fathers and sons. Blood or no blood, it's the bond the two men have together. That's what this movie is all about. I'm not going to tell you anything about it, I feel that it's up to the people who watch it to let the plot and meaning unravel for yourself and let your feelings and thoughts do the rest. But I will say that all the actors, Tom Hanks and Paul Newman especially, did an excellent job. The story is amazing, the directing is topnotch, the cinematography is wonderful. This movie has the ability to question parts of you that you're afraid to, but also soothes the parts of you that can feel empty or scared. Road to Perdition can't really be called a movie. It's actually an adventure; a trip to a certain part of you that only you can decipher the true meaning. Go see the movie and understand what I'm trying to convey. I highly recommend it.
  
  

• Boring, flat excuse for a sophisticated movie
  By A2GZRD89C7KQE5 on 2002-07-31
  Having enjoyed "American Beauty" immensely, I decided to see "Road to Perdition" because I expected Sam Mendes' biting social criticism and intelligence. Instead, I received perhaps one of the most boring movies I've ever paid to see. Tom Hanks delivers an "Oscar-caliber" performance, if by Oscar-caliber one means emotionless and tremendously boring. He doesn't develop his character, and he delivers his lines with what Hollywood likes to think is depth (saying banalities very slowly doesn't make them more powerful, folks). Sappy interjections of Tom Hanks' character's son, and the pure evil embodied by Jude Law's assassin does not at all make this movie more watchable, and I found myself bursting out laughing at was supposed to be a heavy father-son moment in the middle of the movie, since it was so poorly acted. The "fantastic" cinematography of the film consists of an overuse of the color brown, and water everywhere. The soundtrack seems to be the same one as American Beauty's. In all, a waste of time and money.
  
  
• Desperate to move us, but doesn't
  By A3ERNNV2JJTF12 on 2003-05-18
  If you want an impressive and feasible mobster film try "Miller's Crossing"; this is nothing more than a wannabe of the genre. Tom Hanks plays a dull, lifeless man who is barely affected when his wife and son are slaughtered. Not that he should be all that surprised when he is, in fact, part of the mafia where things of this nature occur frequently. His surviving son doesn't show much remorse either even though we're led to think of him as a 'good' kid. By the middle of the film, while they're on the run from the bad people, we're shown the two of them bonding and some joking at the most inappropriate times and I couldn't help but to shake my head when I was apparently expected to laugh and feel. There were such ridiculous lines thrown in meant to amuse us and this was definitely not the place for them to try and be witty. Then came the ending (eventually) where I DID laugh, though obviously not the director's intention. Somehow, after enduring hours of boredom, we're expected to CARE when the father gets what he so deserves (after all he does murder for a living)and to feel sorry for his equally unfeeling son as he cries out to him? What a stale, phony and emotionally dry attempt of a film this was.
  
  
• dull gangster movie
  By A2ORDLZH6SNG2M on 2002-07-13
  I went to see this having no idea what it was about... and found it dull, emotionally shallow, and highly predictable. It had none of the flair of The Untouchables or diligent detailing of The Godfather, the sets and locations were mediocre, and the lighting is pointlessly dark.
  It was in every way forgettable. I think too much has been made of Sam Mendes' direction of ths film (he's a fellow Brit, who commanded American Beauty magnificently, but not so here). The character development was wafer thin to the extent that you didn't really care who was killed. The plot was excruciatingly obvious.
  Hype is a dangerous thing when the goods are below 100%. Quad erat demonstratum.
  
  
• Road to Oscar
  By A10VNTUCKHAAIH on 2002-07-17
  Wow. If you have been lucky enough to witness this beautiful, breathtaking and intoxicating journey then you know what I am talking about. "Road to Perdition" may be the vehicle that gets Tom Hanks (in my opinion the best damned American actor of the past 15 years) out of his 'nice guy' role, but it should most definitely rope him an Oscar for Best Actor. I know that its early, but it will surely be hard to beat this performance.
  I read that Hanks had wished director Sam Mendes had offered him the part of Lester Burnham in "American Beauty." That role went to Kevin Spacey, who became the embodiment of that character, much the same way that Hanks defines mob hitman Mike Sullivan in this film.
  The film, as you most certainly already know, details the story of Sullivan and his son attempting to seek revenge for the murders of Sullivan's wife and youngest son. The kicker is that the mob boss that Sullivan works for, played by Paul Newman, is fatefully intertwined with the whole mess, as it was Newman's son Connor who kills Sullivan's wife and child. And then the whole "you killed my wife and kid, now I kill you" routine kicks in. But the ironic part is....there is nothing routine about this film.
  There are moments that will stay with you long after the film has passed. For instance, Hanks and Newman playing a duet together on a piano, the insane look in Hanks' eyes when he says a prayer in a church, and the gut-wrenching and horribly tragic finale. Even the melancholy and maddingly sorrowful film score will stick deep inside of you, as composer Thomas Newman did an absolutely wonderful job of capturing the essence of the story in his music.
  I can't tell you to go and see this film. I would like it if you took the time to see it because you actually wanted to. I was not disappointed in Sam Mendes' gorgeous revenge/ganster timepiece that almost borders on film noir territory. The moral dilemmas of Mike & his son are quite evident, and the killing in the film all has a feeling of necessity to it, there are no scenes of gratuitous killing, every death has a purpose.
  All in all, this has to rank with "Gladiator" and "L.A. Confidential" as one of the best films to be produced in the last 5 years. Heartwarming, gut-wrenching, bloody, violent, emotional and unforgettable are all words you could use to describe this masterpiece. I myself can not find a word to describe how this film affected me and how well it was produced. I simply say this, if this film does not win Oscars for Best Actor (Hanks), Best Director (Mendes)and Best Film, I will never watch the Oscars again. "Road to Perdition," a film that only comes along once a lifetime...please don't miss out. See why Tom Hanks took the role for yourself.
  
  

• Catch Me If You Can (Widescreen Two-Disc Special Edition)
• Gangs of New York (Two-Disc Collector's Edition)
• Mystic River (Widescreen Edition)
• Saving Private Ryan (Special Limited Edition)
• Collateral (Two-Disc Special Edition)