Road to Perdition
3/4
Starring: Tom Hanks, Tyler Hoechlin, Paul Newman, Jude Law, Daniel Craig
Rated R for Violence and Language
Michael Sullivan Jr. (Hoechlin) doesn't know what his father (Hanks) does for the charming old man Mr. Rooney (Newman). Neither of his parents will tell him, but it keeps him away at random hours and forces him to leave on "missions" at a moments notice. He knows that his father's work is dangerous, which is why he always takes a gun. One night, curiosity gets the better of him and he sneaks away in his father's car. But once he finds out the truth, his life is in danger. Now he and his father must go on the run.
"Road to Perdition" is one of those sprawling epics that are released every holiday season in the hopes of tasting Oscar glory (at least they used to be...now they're drowned out by the latest "Star Wars" opus or MCU regurgitation of the same movie we've been seeing for the past 20 years). It looks great and contains several powerful performances, but emotionally it's neutered. One of the things that I admire about epics is the grand emotions that make our hearts soar or sink, depending on the situation. That doesn't happen here. Intellectually we understand what is going on and why the characters act the way they do, but they're impossible to identify with. They're as unreachable as Michael Sullivan Sr.
To call Michael Sullivan Sr. a departure for Tom Hanks is an understatement. Hanks is equal parts famous and beloved for playing nice guys (like Forrest Gump or Woody). Hell, the man played Fred Rogers and Walt Disney. So to see him play a reserved mobster is a shock to the system. But it's a testament to his talent that he pulls it off. Hanks gained weight for the role (or seemed to), adding physicality and an imposing presence to the usually light actor. Hanks does a lot of acting with his eyes, bringing to light the pain that has come with a lifetime of death. Sullivan knows that he has done horrible things, and the battle with guilt and the need to save his son is painted on his face.
As good as Hanks is, the film belongs to Paul Newman, who steals every scene he is in. Like Michael Sr., Rooney has paid for a lifetime of sin. You can see it in his eyes that are weighed down with sadness and guilt. After the unthinkable happens, Rooney has to make an impossible choice: save the life of his spineless son Connor (Craig) or the man he loves as a son. There is a scene Newman has with Hanks underneath a church that is riveting to watch. Hanks is good, but Newman is great.
The other performers are all strong. Then-newcomer Tyler Hoechlin holds his own with Hanks and Newman, although he can't match their presence or charisma (who could?). Daniel Craig has never been slimier than here as the arrogant, spoiled daddy's boy. Jude Law plays a truly twisted hitman (his character was not in the original graphic novel, which I read, but invented for the film). Cameo appearances are supplied by Jennifer Jason Leigh, Ciaran Hinds, Liam Aiken and Stanley Tucci.
If nothing else, "Road to Perdition" would be worth seeing simply because it looks so damn good. This is a motion picture that floods the screen with beauty. Each frame is gorgeous to look at and lovingly crafted by Conrad L. Hall (this was his final film as a cinematographer). Even if the movie was bad, which is certainly isn't, it would be worth watching simply to gaze upon the the images he created. Couple that with the soaring musical score by Thomas Newman, and you've got a feast for the senses.
Alas, the film is so cold and unreachable. Movies like "Once Upon a Time in America," "The Godfather," "Goodfellas," and the like endure because they involve us. We aren't on the outside looking in. We have a personal investment in the outcome. That doesn't really happen here. So in the end, "Road to Perdition" is a good movie, but falls short of the greatness it aspires to.
Starring: Tom Hanks, Tyler Hoechlin, Paul Newman, Jude Law, Daniel Craig
Rated R for Violence and Language
"This is the life we chose, the life we lead. And there is only one guarantee: none of us will see heaven."
"Michael could."I imagine that one of the great fears of every man is that the sins of the father will be passed down to his sons. One of the duties of parenting is to try to prevent one's children from making their same mistakes. The other is to instill the knowledge that there is a price to pay for everything we do. For Michael Sullivan Sr., this is the task that he has set for himself (and in a way, one that he has forced on himself because of the choices he has made). It is something that he must do even if it costs him his life.
Michael Sullivan Jr. (Hoechlin) doesn't know what his father (Hanks) does for the charming old man Mr. Rooney (Newman). Neither of his parents will tell him, but it keeps him away at random hours and forces him to leave on "missions" at a moments notice. He knows that his father's work is dangerous, which is why he always takes a gun. One night, curiosity gets the better of him and he sneaks away in his father's car. But once he finds out the truth, his life is in danger. Now he and his father must go on the run.
"Road to Perdition" is one of those sprawling epics that are released every holiday season in the hopes of tasting Oscar glory (at least they used to be...now they're drowned out by the latest "Star Wars" opus or MCU regurgitation of the same movie we've been seeing for the past 20 years). It looks great and contains several powerful performances, but emotionally it's neutered. One of the things that I admire about epics is the grand emotions that make our hearts soar or sink, depending on the situation. That doesn't happen here. Intellectually we understand what is going on and why the characters act the way they do, but they're impossible to identify with. They're as unreachable as Michael Sullivan Sr.
To call Michael Sullivan Sr. a departure for Tom Hanks is an understatement. Hanks is equal parts famous and beloved for playing nice guys (like Forrest Gump or Woody). Hell, the man played Fred Rogers and Walt Disney. So to see him play a reserved mobster is a shock to the system. But it's a testament to his talent that he pulls it off. Hanks gained weight for the role (or seemed to), adding physicality and an imposing presence to the usually light actor. Hanks does a lot of acting with his eyes, bringing to light the pain that has come with a lifetime of death. Sullivan knows that he has done horrible things, and the battle with guilt and the need to save his son is painted on his face.
As good as Hanks is, the film belongs to Paul Newman, who steals every scene he is in. Like Michael Sr., Rooney has paid for a lifetime of sin. You can see it in his eyes that are weighed down with sadness and guilt. After the unthinkable happens, Rooney has to make an impossible choice: save the life of his spineless son Connor (Craig) or the man he loves as a son. There is a scene Newman has with Hanks underneath a church that is riveting to watch. Hanks is good, but Newman is great.
The other performers are all strong. Then-newcomer Tyler Hoechlin holds his own with Hanks and Newman, although he can't match their presence or charisma (who could?). Daniel Craig has never been slimier than here as the arrogant, spoiled daddy's boy. Jude Law plays a truly twisted hitman (his character was not in the original graphic novel, which I read, but invented for the film). Cameo appearances are supplied by Jennifer Jason Leigh, Ciaran Hinds, Liam Aiken and Stanley Tucci.
If nothing else, "Road to Perdition" would be worth seeing simply because it looks so damn good. This is a motion picture that floods the screen with beauty. Each frame is gorgeous to look at and lovingly crafted by Conrad L. Hall (this was his final film as a cinematographer). Even if the movie was bad, which is certainly isn't, it would be worth watching simply to gaze upon the the images he created. Couple that with the soaring musical score by Thomas Newman, and you've got a feast for the senses.
Alas, the film is so cold and unreachable. Movies like "Once Upon a Time in America," "The Godfather," "Goodfellas," and the like endure because they involve us. We aren't on the outside looking in. We have a personal investment in the outcome. That doesn't really happen here. So in the end, "Road to Perdition" is a good movie, but falls short of the greatness it aspires to.
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