Joshua Tyler | publishing
Murder is a cold and meaningless act. Those who make their lives must be hard and cruel. The road to destruction Never back down, but in the emotional emptiness of the Mafia Killer, people discover warmth, depth and soul.
The second film was first released in 2002 America Director Sam Mendes has put a highly stylized and chaotic vision of the world of the Irish mob. Michael Sullivan (Tom Hanks) is the center of the personal “Angelo of Death” of mob boss John Newman. Sullivan and his family grew up as Rooney’s son, and only Sullivan’s mean work gave an idyllic life.
Their world is broken when his eldest son, Tyler Hoechlin, witnesses dad taking care of business as mob boss Rooney’s cooked son (Daniel Craig) responds by murdering Sullivan’s wife and youngest child. Now, Sullivan must be loyal to the test to protect his eldest son Michael and buy life for both of them.
The road to destruction It’s not an Irish or Italian mafia parody, scattering clichéd characters that speak eccentric irony about the “family” gangsters. Instead, it is the line between right and wrong, a beautiful and layered expression enters the heart of a person who is guilty of murder but does know the difference between good and evil.
Hanks’ character is not a hero, and despite Mendes’ permission, he could have played that role. But we never allow to stop and try to rationalize his misconduct with the necessary cliches. instead, Death Constantly reminding us that those who want to play the role of saints are cold, ruthless, and have no regrets.
It’s Hanks that make it work. His Sullivan is dark, silent and immovable. Hanks’s natural cuteness could have made this sensitivity difficult, but he uses honest and authentic characters to blur good and evil throughout the film. He is subtle. Each expression has a meaning, and each grimace tells a story. He is smart, calculated and cool. Sullivan is cold, but never cruel: honest, loyal, caring, but willing and ready to kill.
This dark and rainy film has nothing to do with the pursuit of exploration and redemption. A character without scenes, no purpose. Even a random killer (in this case, the words played by Jude Law), although he rarely says and seems to just bring death, it becomes a true person who lives and breathes, full of motivation, personality and depth. No other person has the totally incredible ability to fully inhabit his character, even adopt behaviors, speech patterns and movements that seem insignificant, but when added together, a person with flesh and blood is created behind the trigger.
Newman also goes out of his character, a dismal and evil man who somehow seems brave and grandfather in the hands of his veteran performance. Newman’s John Rooney gradually entangles the film’s troubled score throughout the story, heading to the inevitable path, unwilling or unable to stop his demonic son from moving.
The shots that surface in the world of rain, snow and beautiful gray, The road to destruction Avoid the simple and simple side of what many other modern films do. Mendes kept the course and made us question the morality of men. Using sound, light and shadow, he develops a unique story, while the bullets tear apart the shockingly explosive and total silence on the screen.
Some adult stories, some tragedies, where are they Death The best success is to reach out and grab Sullivan and his son’s heart directly. The road to destruction Most importantly, the performances of all participants based on Oscar-Caliber’s performance lay the heavy, thoughtful and brave creative film.
The road to destruction Comment score
