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Old 08-16-2019, 04:41 PM   #221
Poya Poya is offline
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Quote:
Originally Posted by Paul.R.S View Post
It's Connie Hall not Roger D but yes, very special.

Re the notion that "a story told in pictures" is a negative criticism, some would argue that that is a compliment. We should remember that this picture is a Max Collins graphic novel adaptation.

Idiosyncrasies? The whole Jude Law character. Humor? "You'll never know."
Deakins would be the first person to admit that he was directly influenced by Hall.
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Old 08-16-2019, 06:15 PM   #222
Gacivory Gacivory is offline
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Quote:
Originally Posted by Poya View Post
Deakins would be the first person to admit that he was directly influenced by Hall.
Ok, but he would also be the first to say to properly credit the right Cinematographer for a movie. And he didnít shoot this film.
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Old 08-16-2019, 06:46 PM   #223
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Originally Posted by HD Goofnut View Post
I've got a theatrical poster of it somewhere in my store room. It was this one:

This is one of three posters I have in the front room of the apartment where the projector is. The other two:



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Old 08-16-2019, 07:10 PM   #224
Poya Poya is offline
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Originally Posted by Gacivory View Post
Ok, but he would also be the first to say to properly credit the right Cinematographer for a movie. And he didnít shoot this film.
Never said that. It was a compliment to Deakins. Get over yourself.
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Old 08-31-2019, 02:18 PM   #225
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I watched this last night for the first time in years. Here's my review...

When ROAD TO PERDITION was released in 2002, it caused a mini stir. Audiences werenít sure if they would be able to buy Tom Hanks in a morally flexible role. The film had the benefit of being director Sam Mendesí follow up to the massively successful AMERICAN BEAUTY, though, and, as such, had creative leeway. Based on Max Allan Collins and Richard Piers Raynerís graphic novel, which was in turn heavily inspired by the legendary LONE WOLF AND CUB manga series, Mendes, screenwriter David Self, and the impressive cast craft a minor masterpiece. Though not without flaws, Iím glad a revisited the film for the first time in at least a decade.

Mike Sullivan (an understated but emotionally resonant Hanks) is a loyal and respected high-level mob enforcer in the Prohibition era Quad Cities area. A World War I vet and stern family man, he owes everything to fatherly mob boss John Rooney (the legendary Paul Newman in one of his final roles). Curious about his fatherís work, Mikeís oldest son Michael (future Superman Tyler Hoechlin) secretly follows him to a job where he witnesses Rooneyís son Connor (cruel and craven Daniel Craig) kill a fellow gangster. After being discovered, Michael swears to keep the bloody secret. However, Connor is resentful of Mikeís relationship with his father and attempts to bend the situation to his advantage, initiating a plot that puts Mike and John in an unavoidable collision course. The film also features Jenifer Jason Leigh in what amounts to an extended cameo, Ciaran Hinds as a disgruntled mobster, Stanley Tucci as a sympathetic but unhelpful colleague, and Dylan Baker as a foppish crooked bookkeeper. Perhaps my favorite performance, however, is Jude Lawís turn as the repulsive hit man and crime scene photographer hired to end Mikeís relentless quest for vengeance.

As you might expect, performances are great. Hanks plays Mike as a man who doesnít enjoy violence but who will effectively employ it if need arises. Wanting to emphasize the visuals, Mendes and Self limited dialog, allowing their performers to tell the story with body language, and cinematographer Conrad Hall to present wordless but impactful scenery. Hall would win an Oscar for his lush and elegant work. Beautiful and elegiac, Hallís work is a huge part of the filmís appeal. The sequence where Mike confronts John in an evening downpour is particularly stunning. Production design is also outstanding, with costumes, sets, and especially the vintage vehicles bursting off the screen with impressive texture and detail. Thomas Newmanís score is also fantastic. At turns melancholy, thrilling, and wistful, it perfectly compliments the visuals and somber tone.

I only have a few minor nitpicks with the piece. It briefly sags a bit in the middle where Mike and his son form a deeper bond. Though essential to the narrative, it doesnít quite work and clashes tonally with the rest of the feature. Iíd also say that the voiceover narration at the beginning and end of the film betrays the confidence of the visual storytelling and is a bit too on the nose. Itís particularly aggrieving at the conclusion where the editing is more than sufficient to convey the workís parting message.

Despite a few missteps, Sam Mendesí ROAD TO PERDITION is effectively lyrical and haunting. Youíve probably seen the basic story before, GLADIATOR and JOHN WICK both come to mind, but the creative choice to tell the tale through imagery sets it apart. And make no mistake, itís a gorgeous flick. Tom Hanks doesnít go full on bad guy, but he admirably tackles a character thatís grayer than his typical role. Seventeen years later, the film seems to be a footnote. I myself dismissed it at the time as being a well crafted but forgettable effort. However, I now appreciate its themes about fatherhood as well as its ability to convey story in a purely cinematic way. Recommended for fans of tommy guns, period filmmaking, and conflicted gangsters.
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Old 08-31-2019, 03:33 PM   #226
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Love this movie, a 4K release could make for some lovely visuals!
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Old 08-31-2019, 05:23 PM   #227
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Quote:
Originally Posted by Bostonyte View Post
Love this movie, a 4K release could make for some lovely visuals!
I'd be interested in an upgrade. I'm no expert, but the transfer on the current blu ray looked soft to me.
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Old 08-31-2019, 08:33 PM   #228
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Quote:
Originally Posted by Splatterpunk View Post
I'd be interested in an upgrade. I'm no expert, but the transfer on the current blu ray looked soft to me.
If you think the BD is soft take a look at the DVD: https://caps-a-holic.com/c.php?d1=12...0&a=1&go=0&l=1
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Old 09-05-2019, 11:43 PM   #229
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I’m not the biggest fan of the newest Blu-Ray cover but I don’t want to spend an extra $10 just for a cover I like more. Is a 4K release likely anytime soon?
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Old 09-06-2019, 01:59 AM   #230
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Quote:
Originally Posted by JG85 View Post
Iím not the biggest fan of the newest Blu-Ray cover but I donít want to spend an extra $10 just for a cover I like more. Is a 4K release likely anytime soon?
Anniversary is not until 2022 so I wouldn't count on it soon.
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Old 02-18-2022, 03:58 PM   #231
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Would love to see Paramount do a 4k of this now that they have been going through their back catalog. I wouldn't even mind a Paramount Presents release with a new 4k scan
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Old 02-18-2022, 04:13 PM   #232
50strat54 50strat54 is offline
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Great movie!
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Old 02-18-2022, 06:05 PM   #233
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watched this last night and my copy went bad. no discoloration. had it since 2010 and watched it when I first got it and it played fine. breaks up at what i am assuming is the layer change. around 1:10.
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Old 02-18-2022, 06:29 PM   #234
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Originally Posted by kbender24 View Post
Would love to see Paramount do a 4k of this now that they have been going through their back catalog. I wouldn't even mind a Paramount Presents release with a new 4k scan
Would love for every person who necros a thread simply to proclaim their love for a would-be 4k to receive a temporary ban until this lunacy discontinues.
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Old 02-02-2023, 09:58 PM   #235
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Gave up waiting on a 4K, ordered the Blu-ray, upgraded my dvd.
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Old 02-05-2023, 03:40 AM   #236
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Does anyone happen to know which master Netflix used for this film? I am by no means an expert but the quality seems... questionable.
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Old 02-07-2023, 03:05 PM   #237
Okiephile Okiephile is offline
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Anyone concerned about the new repackaged version. Same great transfer, same great soundtrack. Does say “made in Germany “ on back.
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Old 02-07-2023, 03:13 PM   #238
HD Goofnut HD Goofnut is offline
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So, 2022 came and went without anything so I guess this is not getting a UHD anytime soon.
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