#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 1931. Mike Sullivan and Connor Rooney are two henchmen of elderly Chicago-based Irish-American mobster John Rooney, Connor’s father. In many respects, John treats Mike more as his son, who he raised as his own after Mike was orphaned, than the volatile Connor, who nonetheless sees himself as the heir apparent to the family business. One evening, Mike’s eldest son, twelve year old Michael Sullivan Jr., who has no idea what his father does for a living, witnesses Connor and his father gun down an associate and his men, the situation gone wrong initiated from an action by Connor. Caught witnessing the incident, Michael is sworn to secrecy about what he saw. Regardless, Connor, not wanting any loose ends, makes an attempt to kill Mike, his wife and their two sons. Mike and the surviving members of his family know that they need to go on the run as Connor, who has gone into hiding, will be protected through mob loyalty, especially by John, who cannot turn on his own flesh and blood. Still, Mike has to figure out a way for retribution for what Connor did, while still protecting him and his family, not only from Connor, but from John and his fellow associates. Through it all, Mike wants those in his family that had no say in what he chose as a living, to have some redemption for their eternal souls.
Plot: Mike Sullivan works as a hit man for crime boss John Rooney. Sullivan views Rooney as a father figure, however after his son is witness to a killing, Mike Sullivan finds himself on the run in attempt to save the life of his son and at the same time looking for revenge on those who wronged him.
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|7.7/10 Votes: 248,091|
|7.4 Votes: 2535 Popularity: 17.757|
Great Performances Paper Over Any Minor Flaws
ROAD TO PERDITION can be summed up by Thomas Newman’s score . It’s haunting and beautiful but you’re aware that this music is similar to Newman’s other work and while listening to the soundtrack you’re reminded of SCENT OF A WOMAN , MEETING JOE BLACK and THE SHAWSHANK REDEMPTION you’re reminded of other films as the story unfolds on screen . As the Sullivans drive round America trying to escape from a psychotic hit man you think of THE GETAWAY , Irish gangsters is MILLER’S CROSSING whilst the subtext of guilt and redemption can be summed up by Coppola and Leone’s gangster epics. Despite having a seen it all before feel this shouldn’t be taken as a heavy criticism of Sam Mendes film which I repeat is haunting and beautiful and the only flaws that work against it is a very slow opening twenty minutes and I was slightly confused as the events that caused Michael Sullivan to be betrayed . But if you stop to consider how much of a sentimental mess Spielberg might have made with the story that revolves around a father and his twelve year old son running for their lives you can’t help thinking what a superb director Mendes is
ROAD TO PERDITION is a film where the entire cast give flawless performances . I’ve never been all that keen on Tom Hanks but he’s every bit as good here as he has been in any starring role , probably better . Paul Newman plays a character with an Irish accent but at no point did I believe I was watching an American screen legend putting on a false accent – Newman’s performance works due to the subtle body language , his character is torn up by guilt but Newman never milks it or goes over the top . While never upstaging Newman who gives the best performance in the movie the two Brit supporting actors Craig and Law are also very memorable as American gangsters and while Law will still have a long career as a leading actor one wonders how Daniel Craig might have progressed as a character actor if he hadn’t decided to become James Bond , a role which heralds the end of an actors career
AKA the Road to Bogus City (spoilers)
Seldom does a movie fail on so many levels and in so many genres.
As a Coming of Age Story it’s unrealistic. Anyone whose entire family had been shot dead, and was on the run from both police and the mob (oh sure, Capone just forgave him taking all that money) isn’t going to be a faux, philosophical boy-man. They’re going to be an emotional basket case.
As a Depression Era Gangster Movie it’s shallow. We learn nothing about Chicago, the gangs, the Depression (everybody looks plenty rich in this movie) or even Sullivan himself. Everyone and everything is a complete cipher. This movie could have taken place in any decade of the 1900s and wouldn’t have been a bit different.
As a Revenge Flick it’s hokey. One well-known guy and his punk son take on the Capone Mob and the “Rooneys”? Yeah, sure.
As a Father and Son Caper movie it’s unintentionally hilarious. “Gee Dad, let’s rob a bank today. C’mon, let’s shoot some guys. Dad, Dad, I wanna go ambush the Capone Mob!!” “No, son. You must not grow up to be a gangster like me. You should let creepy Jude Law kill you because it’s better to be a dead innocent youth than a stone cold killa like your old man.”
And so on. Some parts are just ridiculous beyond belief. Jude Law is after Tom Hanks and Son under orders to kill them. He sees them making a telephone call, and oh-so-cleverly picks up the phone after they’ve left and pretends to have been disconnected. He finds out where they’re going. Why the hell does he even care? Why doesn’t he just *kill them right there and then?!?*
The boy is doing a voiceover (in the same voice he used during the movie) about how “that was the last time I touched a gun.” Last time since when, boyo? A few weeks ago? If this is supposed to be Grown Up Gangster’s Son, why is he reminescing in a kid’s voice?
Speaking of winter, boy Chicago sure has some mild ones, huh?
Tom Hanks ambushes the “Rooneys” (what a dumb name for a gangster clan) from the shadows and starts blasting them with a tommie gun that has about a 1000 round clip. In classic Hollywood style, nobody dives for cover. They just stand there and get shot. Paul Newman never goes for his gun. He stands there and waits for Hanks to come up and shoot him point blank. Yep.
Jude Law, dead guy photographer. I guess the police are so corrupt that they never ask questions about why Law is killing off people himself. Creepy Jude Law is becoming a fixture, the next Crispin Glover. When you see his name, you can be almost certain there will be some “psycho” character in the film. Oh, he’s a brilliant hitman too. Instead of waiting outside the diner and plugging Hanks when he’s finished eating, and killing the sleeping boy in the car, Law goes in there and sits right down and starts talking to him, setting the scene for Hanks to escape. Brilliantly Stupid.
But the worse part of the whole mess is the director’s inability to decide what story he wants to tell. He does 30mins of Gangster film, 30 of Father/Son bonding, 25 of chase across the Midwest, etc. Even the title isn’t immune from this kind of inability to focus. Road to Perdition has a clever, and draining, double-meaning since that’s where the Aunt lives, in someplace called “Perdition.” Uh-huh. God, that’s dumb. Lame “symbolic” names are the nadir of poor writing.
And the message in this whole mess? “Admire me, son, but don’t grow up to be like me.” That kid would have needed a whole lotta therapy to even be able to grow up at all.
There’s no reason to give this piece of ill-conceived garbage more than 2 stars. It looks pretty and it has a great soundtrack. Apparently, that’s all you need these days to have critics talking about “Oscars”. Hah! Road to Bogus City didn’t get more than a few token nominations. It didn’t deserve anything more.
Hm, maybe the Academy isn’t as blind as I thought it was.
RstJ Salem, Oregon
Original Language en
Runtime 1 hr 57 min (117 min)
Genre Crime, Drama, Thriller
Director Sam Mendes
Writer Max Allan Collins (graphic novel), Richard Piers Rayner (graphic novel), David Self (screenplay)
Actors Tyler Hoechlin, Rob Maxey, Liam Aiken, Jennifer Jason Leigh
Awards Won 1 Oscar. Another 22 wins & 82 nominations.
Production Company Zanuck Company
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium XL, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses, Panavision Panastar, Panavision Primo Lenses
Laboratory Consolidated Film Industries (CFI), Hollywood (CA), USA, Technicolor, Hollywood (CA), USA (color) (prints)
Film Length 3,198 m (Sweden)
Negative Format 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic) (Kodak Vision Premier 2393)