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Some may feel that the rating i have just given is a bit generous, but for what this film is i think the directors have done a good job with that they had available to them, this is also a film a film of an acquired taste!
my immediate thought was the direct connection to the classic cult film 'The Thing' i.e the parasitical aliens from outta space, infesting human host to then reek havoc wherever possible!
You can see how this film pays homage to such a film and others of the horror/gore genre, however cleverly maintains its own originality, well these things fight each other for one and then continue to eat then fallen rival! Only killing and picking a human when it needs a new host! To then pick another fight with another infected host! And this film even throws in a love story but i wont say no more otherwise it gives too much away.
GREAT! But like i said of an acquired taste, so don't be surprised if you don't like the film. It is low budget and yes it is blood thirsty, with the creatures/aliens/things morphing their limbs into crude looking weapons, i.e saws, drills, blades and even the odd gun to all but decimate there opponent. I found myself cringing at what i was being shown but at the same time glued to the screen wondering what was going to happen next!
So if you like gore, you like aliens, you like fighting and even maybe a little bit of love thrown in somewhere, then i must recommend this film as a must see. I just wish i came across this earlier then i did!


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Deranged and graphically gory Japanese film about little beings taking people over and turning them into necroborg-zombie like machines- which beat and hack each other apart so that the winner can eat the loser. In the middle of this a pair of lovers become infected.
Technically superb horror comedy(?) is only for those with strong stomachs as blood and body parts go flying. Good taste prevents me from describing what happens here, but lets just say its pretty gruesome. If you like this sort of thing with form several steps above slender content by all means see this film. Personally I'm not normally one to enjoy films like this on anything but the how sick and twisted do they go level. Here I was intrigued enough that I can suggest it to people I know who like really gory movies.. Its also a film with enough going on in the details that I want to see it again since now that I know what was going on-as revealed in the end-I want to go back and see what it was I didn't catch on to. There is an internal logic rare in these films.
7ish out of 10 for those who like blood and severed limbs, its a zero or more precisely a run and hide alert for everyone else.


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Road to Perdition, a movie undeservedly overlooked at that year Oscars is the second work of Sam Mendes (and in my opinion his best work), a director who three years before won Oscar for his widely acclaimed but controversial American Beauty. This is a terrific movie, and at the same time ultimately poignant and sad.
It's a story of a relatively wealthy and happy family from outward appearance during difficult times of Depression when the, Michael Sullivan, a father of two children, played by great Tom Hanks (I'm not his admirer but ought to say that) is a hit-man for local mafia boss, played by Paul Newman. His eldest son, a thirteen years boy Michael Sullivan Jr., perfectly played by young Tyler Hoechlin, after years of blissful ignorance finds out what is his father job and on what money their family live. Prompted by his curiosity and his aspiration to know truth he accidentally becomes a witness of a murder, committed by John Rooney, son of his father boss. Such discovery strikes an innocent soul and it caused numerous events that changed his life forever. The atmosphere of the period, all the backgrounds and decorations are perfectly created, editing and cinematography are almost flawless while the story is well written. But the main line of the movie, the most important moments and points of the movie and the key factor of the movie success are difficult father-son relations in bad times. They are shown so deeply, strong and believable. Tom Hanks does excellent and has one of the best performances of his career in a quite unusual role for him and all acting across the board is superb. Finally worth to mention a very nice score by Paul Newman and in the result we get an outstanding work of all people involved in making this beautiful (but one more time sad) masterpiece. I believe Road to Perdition belongs to greatest achievements of film-making of this decade and undoubtedly one of the best films of the year.
My grade 10 out of 10


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Acting This film is a very well acted film. I will say that the performances are slightly weak at times; but for the most part, the acting is very good. The only actor that blew me away with his performance was Jude Law as Harlen Maguire. He was incredible! Tom Hanks seemed alittle unsure at at a few points throughout the film but he too was incredible. Paul Newman, good as always. Cinematography This is what made the movie a masterpiece (and I rarely use that word). Conrad Hall is a true genius. If at any point in the movie you were to pause it, you will see the delicately crafted work of this man. He sets up every shot so that nothing is left out. When the camera is still, there is a postcard like quality to the screen. When the camera is moving, every shot is planned to understated perfection. But it doesn't stop there. Conrads choice of colors and contrast between light and dark settings is a work of art. The way he lights the set is some of the most amazing lighting work I've seen. His work on this movie made it what it is. This movie is at the top of the list for best Cinematography with LOTR, Black Hawk Down, Hero, CTHD, Moulin Rouge, and Vertigo. Story People will say this movie is a 1930s gangster flick but, I believe they missed the point of the movie. It is a love story about a hit-man who fails in trying to protect his son from the life he chose. It is a brilliantly crafted story that unfolds into a beautiful bond between two people who have nothing but each other. The screen Writing is worthy of an Oscar. Music Thomas Newman conducts a sad but hopeful score to intensify this sad but hopeful story. The music is some of the most beautiful and moving scores I've herd. Direction Sam Mendes is a new director with a feel of an experienced director. The symbols he uses and the performances he gets from his actors is a rarity in todays film-making world. I will be on the lookout for the next Sam Mendes Film. 10/10 one of the most moving and beautiful movies I've ever seen.


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This couldn't have been better. The strong restraints on Mike Sullivan's expressions couldn't have been portrayed in any other way. Tom Hanks delivers the best performance of his career. Young Tyler Hoechlin drives an emotional wheel; playing the basis character for the story. And veteran Paul Newman gives one of his best character performances in a long time.
This film is based on a bold graphic novel by Max Allan Collins and Richard Piers Rayner. This is a father/son story which basically employs the two candidates solely unfit for the roles. Mike Sullivan had no father as a child, so John Rooney took him in. Although a generous man, Mr. Rooney involved himself in organized crime. Therefore, the debt of Sullivan was only to be paid off in involving himself in the business. Now, Sullivan has a wife and two children and is trying to keep his children safe, but at the same time pay back his boss. The events to follow, will test Sullivan's loyalty and embrace his family's fate.
With a great adaptation by David Self, the dialogue comes out seldomly, but yet very virtuous. The story unfolds in a beautiful 1930's setting (Brilliant Art Direction by Richard L. Johnson & Nancy Haigh) covered with a dark rainy (snow on the ground) exterior. Driving the story, is Thomas Newman's wonderful Irish score, settling in only when necessary.
But the most important technical element in the film is Conrad L. Hall's beautiful photography. This is some of the best cinematography I've seen; and I watch a lot of films. The scene when Mike and Michael are in the car, entering Chicago is quite impressive. The shot starts at the front of the car, revealing Mike(Hanks) through the windshield. It subsequently dollys around to the side of the car, to see Michael(Hoechlin) awakening and peering out his side window. As it continues, it trucks sideways and dollys back, completely around the car and reveals a gorgeous scenic 1930's Chicago.
With a great cast and crew, the principle man creates a brazenly amazing film. I'm talking about Sam Mendes, who made his feature film debut in 1999 with American Beauty. (won him various awards) Before American Beauty, Mendes worked as a play director for the British Theater, but decided that he wanted to move on saying that there was nothing new for him in theater. With only two films, Sam Mendes has marked himself in my book as one of the great directors (In a list of about twenty-five).
The film illuminates a brazen genre that has its hits and misses and expresses the true theme brilliantly. The photography, acting and story is phenominal. I'm still waiting for Scorcesee's Gangs of New York, but for now, I'm fully confident in saying that this is the "Best Film of the Year". Considering it's competition (Signs, Insomnia, Minority Report) thats a strong statement.


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I loved so much about this movie...the time taken to develop the characters, the attention to detail, the superb performances, the stunning lighting and cinematography, the wonderful soundtrack...
It has a combined intensity and lightness of touch that won't work for anyone who wants the typical fast-paced action flick. If we lived in Elizabethan days, I'd say this movie's a bit like a Shakespearean tragedy. But since we don't, let's say it's more like a Drama-Suspense movie.
The plot is simple, but the story is complex. The movie is intelligent in the way relationships and issues are explored. Much of the story is shown rather than told, which I find makes it more subtle and moving - and which also works well for a story based on a comic book (or graphic novel). At times I felt I was actually there in the 1930s, part of this story - there was such a realistic yet dream-like quality in the style of its telling.
I don't often prefer movies to the books they were based upon, but in this case I do. (Though I did enjoy the book too.) I've bought the DVD, which is great because it has some wonderful deleted scenes and insightful commentary.
(I also took my little cousin, who's a little younger than the boy in the movie, to see it after I saw it for the first time, because he has issues at home and I wanted to use this as a way of starting a discussion on father-son issues with him. He loved it - and the discussion.)


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Conrad Hall went out with a bang. The great film photographer finished his illustrious career with this movie before passing on. He did himself proud as this is one of the best-looking crime films you'll ever see.
Of course, the acting ain't bad when you have Tom Hanks and Paul Newman playing the leads! The amount of action in here is just right, too: not too much; not too little.
None of the characters in here, frankly, are "good guys" as Hanks is a professional hit-man for town boss Newman. Hanks' only redeeming quality is not wanting his young son to wind up a killer like him, although he does teach him how to be the getaway man in robberies! Huh?
As good as the acting is and as interesting as the story is, the real star of this film is cinematographer Hall, who paints scene after beautiful scene with his lens. His work is just awesome.


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This is one of the best made movies from 2002. Maybe it is not the best movie, but it looks the best, has great acting and is directed perfectly by Sam Mendes, who debuted with 'American Beauty'.
It tells the story of a gangster named Michael Sullivan (Tom Hanks) who is seen by his son (Tyler Hoechlin) on one of his jobs. Michael's boss, John Rooney (Paul Newman), thinks things will be okay but his jealous son Connor Rooney (Daniel Craig) sets both his father and Michael up, leading to the death of Michael's wife (Jennifer Jason Leigh) and second son. Michael thinks Rooney is responsible and Rooney has to choose for himself and sends a hit-man Harlen Maguire (Jude Law) to finish the job. Since Michael is a respected man within the organization he tries to win some friends who can help him including mob boss Frank Nitti (Stanley Tucci).
In a way 'Road to Perdition' is a standard gangster movie but it is so well made you almost can not see that. This movie is good in its production design, art direction, sound, music and most of all in its cinematography. All these elements are able to surprise and create suspense although the outcome is pretty certain. That Hoechlin is not a annoying kid and Hanks, Law and Newman know how to act helps, of course.
Based on a comic this movie is so much better than you would expect and although it has it flaws it belongs to the better movies in the genre. Sometimes there are events where you realize you have seen it so many times before, but for some reason it also feels fresh at the same time. The scenes between the adult Hanks and the child Hoechlin help in that area. See this movie that will look familiar at times but is totally new on a lot of areas.


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Frankly, this movie has gone over the heads of most of its detractors.
The opposite of perdition (being lost) is salvation (being saved) and this movie is one of a very few to deal with those two concepts. The movie also explores the love and disappointments that attend the father-son relationship. It should be noted at the outset that none of these are currently fashionable themes.
The premise is that the fathers in the move, hit-man Michael Sullivan (Tom Hanks) and his crime boss John Rooney (Paul Newman), love their sons and will do anything to protect them. But Rooney's son Connor is even more evil than the rest. He kills one of Rooney's loyal soldiers to cover up his own stealing from his father. When Connor learns that Sullivan's son Michael witnessed it, he mistakenly kills Sullivan's other son (and Sullivan's wife) in an attempt to silence witnesses.
Sullivan decides he wants revenge at any price, even at the terribly high price of perdition. Rooney, who in one scene curses the day Connor was born, refuses to give up his son Connor to Sullivan, and hires a contract killer named Maguire (Jude Law) to kill Sullivan and his son. So Rooney joins his son Connor on the Road to Perdition.
For the rest of the movie, accompanied by his surviving son young Michael, Sullivan pursues Connor Rooney down the Road to Perdition, and Maguire pursues Sullivan. When Sullivan confronts Rooney in a Church basement, and demands that he give up Connor because Connor murdered his family, Rooney says - "Michael, there are only murderers in this room,.., and there's only one guarantee, none of us will see Heaven." As the movie ends, somewhat predictably, one character is saved and one character repents.
I'm not a big Tom Hanks fan, but he does step out of character to play hit-man Sullivan convincingly, giving a subtle and laconic performance. Newman does well as the old Irish gangster Rooney, showing a hard edge in his face and manner, his eyes haunted by Connor's misdeeds. Jude Law plays Maguire in a suitably creepy way. Tyler Hoechlin plays Young Michael naturally and without affectation.
The cinematography constantly played light off from darkness, echoing the themes of salvation and perdition. The camera drew from a palette of greens and greys. The greys belonged to the fathers and the urban landscapes of Depression era Illinois. The greens belonged to the younger sons and that State's rural flatlands. Thomas Newman's lush, sonorous and haunting music had faint Irish overtones and was played out in Copland-like arrangements. The sets were authentic mid-Western urban - factories, churches. The homes shone with gleaming woodwork.
The excellence of the movie lies in its generation of a unique feeling out of its profound themes, distinctive acting, and enveloping music and cinematography. The only negative was a slight anti-gun message slipped into the screenplay y, the movie's only nod to political correctness.
I give this movie a10 out of 10; in time it will be acknowledged as a great film.


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This is the best mob film ever made. It deserved more then what it got at the Oscars. Nominated for things like its score, art direction, supporting role (Newman), this film could have easily been nominated for Best Picture, Director (Mendes), Actor (Hanks), Supporting Actor (Newman and Law) and won!! Hanks gives one of his best performances, and the kid who played Michel Jr. was so good that I'm surprised i don't see him in more movies today. Critics themselves didn't give this film enough credit. But besides the incredible performances, another real star of this film is the incredible music. This was by far the best score of the year. It was nominated but didn't win. This is a great film that should be seen by everyone. My Grade-A+


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Having been driven out of the house and into the theater by the sweltering heat, I could not have been more pleased. The Road to Perdition, directed by Sam Mendes (American Beauty), is destined to become one of the greatest movies of all time. Perhaps I'm just getting old; perhaps I've just seen the same themes recycled time and again. But this movie is indeed different.
The story opens with young Michael Sullivan Jr. facing out to the sea, contemplating the duality of his father's legacy -- one of the best men to ever live, one of the most evil. This duality snakes its way throughout the movie. The story revolves around crime boss John Rooney (Paul Newman) and Michael Sullivan (Tom Hanks), the young man Rooney once took in and who now serves as his personal "Angel of Death." Rooney is tied by blood to his own son, but tied by love and loyalty to Michael. Young Michael Jr., intrigued by the stories he reads, steals away in his father's car one night while Dad goes off to "work" with Connor Rooney, heir to the family "business." Connor lets the situation get out of hand, and what was meant only to be a warning turns into murder -- witnessed by Michael Jr. Upon the discovery that young Michael has seen what he should not have seen, the plot is set in motion as conflicting loyalties collide. Soon, Michael Sr. is on the run with his young son, pursued by contract killer Harlen "The Reporter" Maguire (Jude Law).
I will disclose no further details in order to avoid any potential spoilers. However, I strongly encourage viewers to examine the many dualities that present themselves in the movie: Problems between sons and fathers (Michael Sr & Jr., John Rooney & son Connor), between the world at home and the world at "work", between good and evil, between those who pretend to be men of god and those who really are, between "clean" money and "dirty", between the town of Perdition and Perdition as hell. And along the way, savor the visual brilliance of cinematographer Conrad L. Hall (9 nominations, 2 oscars for best cinematography): rain pouring off fedoras, shots through mirrors (especially on swinging doors), tommy-gun flashes from out of the shadows, absent any sound. Not only has 75-year-old Hall given us perhaps the best cinematic product of his career, but 77-year-old Paul Newman offers one of his best performances ever.
Yes ... I may be getting old. But I've seen a lot ... and this is fresh and invigorating. The Road to Perdition presents a lasting and loving tribute to the gangster genre, to films of the 40s, to dark comic-book figures lurking in the darkness, to villains and heroes, to American film in general. Go see it!


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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


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I loved this film! I'm a true Tom Hanks fan, and I have always been impressed with all of his work. From his most dramatic roles like Cast Away, The Green Mile, Saving Private Ryan, Forrest Gump, Apollo 13 & Philadelphia. To his hilarious roles like A League of Their Own, Turner and Hooch, Catch Me If You Can, The Lady Killers, Big & of course Toy Story. But in this film Hanks isn't the only great actor who lights up the screen. Tyler Hoechlin, an up and coming star who shows great promise in Hollywood co stars as Hanks son and delivers nothing short of a great performance. He is certainly someone to watch out for over his career, I believe he will do great things. Paul Newman as always delivers a brilliant performance on screen. He is truly a legend. We can't forget the people who didn't have such big roles in the film, but still helped make it great. The beautiful & very talented Jennifer Jason Leigh, who's performance in Bastard Out of Carolina & Single White Female I will never forget, brings her grace to the screen as Hank's wife in the film and does a superb job. Liam Aiken is another found treasure in film. He does such a great job with such a small role, and like his roles in Lemony Snickets, and Sweet November, and I Dreamed Of Africa he gives a great performance.


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This is the first Tom Hanks movie I have gotten the privilege of seeing in the theater, although he is my favorite. When I heard he was going to play a hit-man, I was a little stunned thinking "can Mr. Hanks pull this one off"? And he did in high fashion. This 1930's depression era film is a about loyalty, redemption, and one path that you don't want your children stumbling down. Tom Hanks leads a stellar cast as Michael Sullivan. Being the family man, and the secret life of the contract killer for the Oscar nominated Paul Newman. This movie Tom Hanks relies more on reaction and gaze rather than dialogue, which he delivers a knockout performance.
On one night of one of his jobs, Michael's son Michael Jr., played by newcomer Tyler Hoechlin, witnesses the hit. And Michael Sr.'s partner in crime, fellow stage actor Daniel Craig can't have that information out. So he wacks out the son and wife of Michael Sr., except Michael Jr. So the two head for Chicago to get Conner Rooney(son of Paul Newman's Mr. Rooney).
The drama and intense plot really thickens from their as father trys to set things right, even though son is along for the ride. While on this deadly journey, someone has hired a hit for Michael Sr. The assassin would be the photographer of the deceased Harlen Maguire, played by a stain-teethed Jude Law.
The movie will have you feeling the old days. And with Thomas Newman's beautiful and haunting Oscar nominated score to go along with it, you can't help but appreciate this film from Oscar winning director Sam Mendes. So sit back, and enjoy the wild ride.


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i think that this film is brilliant.there are many reasons why but these are some of them 1)the good acting by Tom and Tyler 2) brilliant machine gun scene that was a piece of brilliance 3) i thought that the ending was a good twist because i never expected that at the end all credit to Sam Mendes.as well as a these 3 points the film form of the film is good as well. i am a film student at college and we studied this film in great detail and it was one of the best films i have seen in many years. i'd just like to say a big thank you to all of the people involved in making this film. lastly i would like to say the best scene in the film is the machine gun scene where John Rooney gets kill it is just pure brilliance in shooting the scene in silence until John Rooney says " i'm glad it's you" it is a lot better like that i think because the viewer creates there own sound and that sound is totally different for every viewer just brilliant.
thank you for reading this comment written by Ross Kirk aged 16


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This is a beautiful film. The true tale of bond between father and son. This is by far, Tom Hanks at his finest. Tom Hanks is really out of the box in this movie. He usually has the nice guy roles. Yet in this film,he comes off in this film as a bit gritty, but still emerges smelling like a rose, even until the very last scene, the assassination of his character. The cast of this movie was well put together. I also love the part when there is total silence when Tom Hanks' character shoots and kills all of the men in Mr. Rooney's group. There is something chilling and yet profound about no sound in that scene, just simply emotion. I love the look on John Rooney, Paul Newman's character's face when he realizes even before seeing him, that it is Tom Hanks's character getting revenge, and he knows his fate has come. The first time I saw this movie I was blown away and knew I had to go out and get the video and I since have, adding it to my collection of my all time favorite movies.
Tom Hanks is my favorite actor, so this film has a special place in me.


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Tom Hanks has been in such hit movies as Forrest Gump, Saving Private Ryan, and The Green Mile. For the most part, his roles have been good guys that we cheer for. In Road to Perdition, his character Michael Sullivanis a little bit different.
In Sam Mendes' film Road to Perdition based on the graphic novel by Max Allan Collins, he shows the story of a man and his son on the road during the Great Depression in Chicago. What is different about this little road trip is that Sullivan is a hit-man who is now being hunted by his former partner. His boss or ex-boss John Rooney (Paul Newman) loves him almost more than his own son, Sullivan's partner Connor (Daniel Craig).
After a job done the wrong way because of Connor, the only witness to his mistake are Sullivan and his son who wasn't supposed to be there. So Connor tries to take out Sullivan and his family, but only gets the wife and other son Peter. Sullivan outsmarts the hit and rushes home to find Michael Jr. sitting at the table...just sitting. With his wife and child dead, Sullivan takes to the road to find answers.
The story follows the two as Sullivan tries to make things right in memory of his wife and kid, and for Michael who feels like he is to blame for all this. He feels his curiosity killed his mother and brother. Tyler Hoechlin does a terrific job as Michael Jr. He brings maturity and also a sense of still being juvenile. His loss of innocence is well acted out as he travels from town to town, leaving nothing behind him.
Mendes' previous hit film was American Beauty which received five Oscars including Best Picture and Best Director. This film didn't do nearly as well at the Oscars only winning one award for best cinematography but receiving five other nominations for music, sound, and a Best Actor in a Supporting Role for Paul Newman. This picture is a great story that takes you on a ride through the Midwest and into the legend of Mike Sullivan: husband, hit-man, and devoted father. This movie is a sleeper film that should be watched for years to come.


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An excellent depiction of one of the more unwholesome aspects of that era. I loved the visuals--very fitting for a story connected to a graphic novel.
I thought Tom Hanks was really great in this, he came across very well as someone who has been hardened by his work (which he didn't fully choose for himself) but still wants to have a normal life for his family. He does the best he can to see that happen. DOn't want to spoil the plot--but YOU HAVE TO SEE this movie if you are a person who wants more from a movie than the usual shoot 'em up action/gangster format. (It is violent though.)


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This is an excellent film!Tom Hanks and Paul Newman performed great!I was really surprised when Newman was beating on his son!That was a great scene and the shooting scenes were staged good.I was very surprised about the end.Rent this film today as it is one of Tom Hanks' best!


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Tom Hanks like you've never seen him before. Hanks plays Michael Sullivan, "The Angel of Death". He is a hitman for his surrogate father John Rooney(Paul Newman)an elderly Irish mob boss. Sullivan's young son(Tyler Hoechlin)witnesses what his father does for a living and both are soon on the road for seven weeks robbing banks to avenge the murder of Sullivan's wife and other son. Enter Jude Law as a reporter/photographer willing to kill Sullivan himself for the chance to add to his collection of photos of dead mobsters. Filmed beautifully catching the drama of life in the 30's. Sometimes the pace bogs down, but then a burst of graphic violence sustains the story. Director Sam Mendes directs this powerful drama about loyalty, responsibility, betrayal and the bonding of a secretive man and his young son. Other notable cast members are: Dylan Baker, Stanley Tucci, Daniel Craig and Jennifer Jason Leigh. Hanks again proves to be excellent in a very memorable movie. Make room for some Oscars!


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One of my favorite movies, with a very nostalgic ending. The movie is about the Sullivan family, obviously Michael Sullivan (the father) is one of the main members of the mafia, the killer to say it this way, and an expert one. One of the kids wants to know the work of his father (a terrible mistake), so he hides on his father's car and well, he sees Tom Hanks in action to say it this way.
Mafia doesn't rules, in Mafia nobody wins, when they want you out, they take you out. Of course you can see anyone who works at the mafia with a giant house, the best car in the world, whatever you like, but make a wrong work, or make something your "boss" doesn't want, and you're fired, and killed.
You can see what I mean in the movie, Sullivan Jr. sees something he didn't had to see, and well, almost all his family gets killed for that "wrong thing" his son did. The movie is really entertaining, you see how the Sullivan's live after being chased by the mafia, or kinda of that.
This movie is kinda of sad, shows us about revenge, those dirty works people do, almost everything you like. Hopefully the guy is reading this comment doesn't works for the mafia, and if you work at the mafia make yourself a favor and get the hell out of the country before you get killed by your boss and their workers.
This movie receives: 10/10


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This is one of the best movies I've ever seen. It has very good acting by Hanks, Newman, and everyone else. Definitely Jude Law's best performance. The cinematography is excellent, the editing is about as good, and includes a great original score that really fits in with the mood of the movie. The production design is also a factor in what makes this movie special. To me, it takes a lot to beat Godfather, but the fantastic cinematography displayed wins this contest. Definitely a Best Picture nominee in my book.


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A great gangster film.Sam Mendes has directed this beautiful movie showing another father-son camaraderie.Brilliant star-cast leading with Tom Hanks(Michael Sullivan) has done a terrific job.Great acting by him again.He is an acting legend.Great acting too from Paul Newman,Jude Law and Daniel Craig.Casting is just too good.The plot is quite good.You will enjoy the movie.A great portrayal of the gangster of the 1930's.Set in the 1930's,this will surely stand out as the zenith of all gangster movies of that era.Soundtrack is pretty good an apt to the movie.A great flick in totality showing what a father does to protect his son.Way underrated for my liking.Deserved a fully deserved 10.


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This is a film that can make you want to see it again. I especially, liked the way it ended. I did not see the end coming, but when Laws was not blown away the first time, one suspects he will be back again.
The story is gripping and could have been more psychological, but I understand the story needed to capture the viewer and the action was necessary for that.
Hard to believe Michael Jr. could be so apparently unmoved as his younger brother and mother as blown away. But, I can appreciate the scene play couldn't really take our attention there because it had a greater story to tell.
Some have complained about Hanks as a gangster. I believe that isn't justified. If his character had been any harder, he would not have cared if his son pulled a trigger or not.
Eight Stars for this one. Although it was released in 2002, I just saw it for the first time yesterday on DVD.


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A bloody gangster story which takes place in the years of Great Depression. It tells us about another notorious hit-man, Michael (Mike) Salliwan. Somehow, this time the story turns the other way round: Mike fights to save his life and his only remaining son, because the rest of his family was killed due to dirty game of his own boss. He succeeds in his revenge and secures honorable future to his son, but gets killed in the end. Such stories never have happy end after all.
The role of Mike Salliwan senior was wonderfully played by Tom Hanks, and the part of Mr. Rooney (the Mafia boss) was performed by Paul Newman. The film makes a great impression, and we hear the well-known phrase "we rob banks". This film is still worth watching although you could have expected something bigger from Sam Mendes after his American Beauty.


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In the winter of 1931, supposedly 12-year-old Tyler Hoechlin (as Michael Sullivan Jr.) wonders what his mobster father Tom Hanks (Michael "Mike" Sullivan) does for a living. Young Hoechlin follows Mr. Hanks to "work" one evening, and witnesses him blasting away some rival gangsters. This leads - in a VERY roundabout way - to "Godfather"-type Paul Newman (as John Rooney) hiring independent hit-man Jude Law (as Harlen Maguire) to track down Hoechlin and Hanks, who are off to cool their heels in Chicago. Hanks thinks they will be safe with a relative, which is puzzling when you consider the characters' line of work.
Looking uncannily like Paul Peterson ("The Donna Reed Show"), Hoechlin does a terrific job for director Sam Mendes; and, getting to work with this cast makes him the luckiest young actor of 2002. But, the most striking thing about "Road to Perdition" is the stunning cinematography of Conrad L. Hall, which deservedly won a career capping "Academy Award" for the late photographer. Mr. Hall's work is truly superlative. This helps make up for the overall impression of a measured, contrived staginess to both the narrative and visuals. The deviating end is abruptly uplifting (the unrelated dog is an example of the aforementioned staginess).
******** Road to Perdition (7/12/02) Sam Mendes ~ Tom Hanks, Tyler Hoechlin, Paul Newman, Jude Law


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Wow, this movie was absolutely brilliant. I really don't know why everyone says it has a slow pace. I thought the pace was perfect. The movie is about Michael Sullivan played by Tom Hanks with perfection who is a sort of hit-man/ killer working for John Rooney (Paul Newman). He disslikes this job but does it because Rooney payed for his house and helps him financially. He had nothing and Mr. Rooney gave him everything. But, his children are unaware that this is his job, and when one witnesses a cold blooded murder by him, he is placed in an awkward position. And when an atrocity occurs, he leaves with his son and is bent on revenge. They rob abanks and much more and build a bond. They're the perfect team. Hanks does a great job as always as well as Jude Law who plays his creepy role to perfection. This drama is highly recommended as it shows a beautiful story and greatly shows how the 1930s were.


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In a poor village in Mexico, the Colonel (Fernando Luján) lives with his asthmatic wife Lola (Marisa Paredes) in an old house. Lola still grieves the death of their son Augustin some time ago. The colonel has been expecting for his pension of fighter in a war against Catholic church for almost twenty-seven years. However, for political reasons, the present government wants to forget this old fight. Without having any possession or money, but a valuable gamecock, they struggle to survival with the expectation of the acknowledgement letter from the government, recognizing the law and paying for the delayed pension. This slow and touching movie reflects the social and financial situation of most of the elder retired persons in third world countries. In Brazil, most of the retired persons has to survive with about US$ 80,00 per month. The debts of the colonel in the story were made to pay for a graveyard for his son, otherwise he would be buried as an indigent. Outstanding performance of the cast, in a very sad story that is reality in the poor countries. My vote is eight.
Title (Brazil): (`Não se Escreve ao Coronel') (Do not Write to the Colonel)



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the government that he fought to establish to recognize his loyalty with a promised and much needed pension. Ripstein's lyrical work is a sweet ode to all those who, like the Colonel, suffer under the abuses of a cynical and hardened society that strengthens itself by denying its citizens the means to live with dignity and purpose. Unlike the absurdity of WAITING FOR GODOT, the Colonel's wait for the arrival of his pension gives hope and significance to his otherwise miserable life. Two things in the film drive the Colonel who is masterfully played by Fernando Lujan; the hope that his military pension will one day arrive and the knowledge that his son, Agustin, died for a noble cause, a reason other than a drunken fracas at a rigged cockfight. Unable to realize the former, and forced to prove to the world the latter, the Colonel does the only thing he can do, set about training his son's fighting cock. The cock is now the warrior who can bring fortune and justice to the Colonel and his asthmatic wife, but his fighting ring is that of the killer of his former owner, Agustin. In a tense scene of confrontation between the Colonel and Nogales, his son's killer, the Colonel is offered by Nogales, a paid government agent, money enough to equal the Colonel's full pension. But, this is blood money; hush money designed to hide the fact that those in power have turned their backs on one who fought for their political ideals, and to conceal to the world that the warrior colonel's son was assassinated because he wrote for an underground paper that favored the rights of labor unions and the common man. With maximum dignity, the Colonel rejects Nogales' offer, picks up his fighting rooster and walks away as nobly as his old legs can carry him. Once he is at home, Dona Lola, his scolding wife, wants to know why the Colonel refused the money when both of them are starving. In response to her continued question, "What are we going to eat until November (when the cockfighting season begins)", the Colonel responds, "Shit." Excrement is what the poor and disenfranchised have been eating all of their lives, and excrement is a meal that the Colonel willingly chooses to eat with dignity, knowing that he could never sell his soul to those who oppress him. The Colonel waits as the only man of honor and valor in a world without principles.


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A sober, reflexive piece, a little miniature which blossoms into a magnificent humane pictorial sequence which goes beyond a mere dramatization for the screen. This quiet little story will hold you enthralled - if you do not have too many problems with the various Spanish accents ranging from Mexican to Peruvian, and Marisa Paredes' more authentic Iberian Peninsular usage! Garcíadiego has accomplished a perfect adaptation from the novel: even the grand maestro García Márquez should be proud of her superb work. And hats off to Arturo Ripstein who has so ably concerted the whole effort into a gem, a ruby, and so refined, so elegant, so sensitive, so touchingly.....
El Coronel - Fernando Luján - is waiting to get his pension, while he continues to live in his ramshackle timber dwelling deep in the Colombian jungle (however, filmed elsewhere, NOT in Colombia) with his fighting cock and his wife (in that order?). And that is all there is to it.
But, oh, so much more.... This film is a rhapsody.
I must see this poetic little piece again as soon as possible. Worth the high side of 8 out of 10, which is very high on my scale.
This is not light commercial Hollywood stuff.


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This is a truly magnificent and heartwrenching film!!!! Ripstein's locations are spectacular, extremely detailed and well lit, the dialogue is extraordinarily García Márquez, no doubt about it. Fernando Luján and Marisa Paredes give us outstanding performances as the colonel and his wife.
You must see it!!!


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As many people know, Mexican cinema was very poor after the so-called Golden Age of the Mexican Cinema, fortunately, during the late 90's, and early 21st century, great movies like La Ley de Herodes, Bajo California, Amores Perros, Y Tu Mamá También and, of course, El Coronel No Tiene Quien le Escriba, appeared. El Coronel..., is a wonderful movie, that retells the classic story by Gabriel García Márquez, by eliminating the magic realism elements, and replacing them with the crude reality lived in Mexico, not only by people like the Colonel, who wait for their pensions, but by more than the half of the Mexican population, who live in complete poverty. The film's characters, satirically represent classic characters found in Mexican society, such as the nationalist Colonel, the cold and even ambitious priest, the hypocrite, but at the same time loyal compadre, the tolerant and patient wife, the hidden homosexual, etc. This movie, is a must-see if you want to know more about Mexican society, and specially, if you want to watch a gorgeous movie, by one of Mexico's finest directors


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a bit slow and boring, the tale of an old man and his wife living a delapidated building and interacting with a fixed cast of characters like the mailman, the brothers sitting on the porch, the wealthy cigar smoking man. The photography of the river is marvelous, as is the interior period decoration. If you like decoration of Banana Republic stores, this is a must.


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I liked this movie very much. Although this movie doesn't boast of big (or even known) names, its very charming. Its one of those feel good types where you know that everythings gonna be just fine in the end. My favorite scene is with the baby elephant part. I rate this movie at 7.5


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