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Road to Perdition (Widescreen Edition)

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Road to Perdition (Widescreen Edition) + The Green Mile (Single Disc Edition) + The Shawshank Redemption (Single-Disc Edition)
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Product Details

  • Actors: Tom Hanks, Tyler Hoechlin, Rob Maxey, Liam Aiken, Jennifer Jason Leigh
  • Directors: Sam Mendes
  • Writers: David Self, Max Allan Collins, Richard Piers Rayner
  • Producers: Cherylanne Martin, Dean Zanuck, Joan Bradshaw, Richard D. Zanuck
  • Format: Multiple Formats, Closed-captioned, Color, Dolby, Dubbed, NTSC, Subtitled, Widescreen
  • Language: English
  • Subtitles: English, French, Spanish
  • Dubbed: French
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • Rated: R (Restricted)
  • Studio: Dreamworks Video
  • DVD Release Date: February 25, 2003
  • Run Time: 117 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (559 customer reviews)
  • ASIN: B00005JLBQ
  • Amazon Best Sellers Rank: #51,265 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Road to Perdition (Widescreen Edition)" on IMDb

Special Features

  • Deleted scenes
  • HBO's "Making Of" documentary
  • Photo gallery

Editorial Reviews

Tom Hanks, Paul Newman, Jude Law. A hit man in 1930s Chicago must go on the lam when his son witnesses a murder by a Mob boss' son. Directed by Sam Mendes. 2002/color/119 min/R/widescreen.

Customer Reviews

Great acting, good lines and good story.
Hovsep M. Melkonian
I ordered this movie not really knowing what it was about, but I had heard really good things about it.
Plus a outstanding performance by Tom Hanks.
Fabian Soto

Most Helpful Customer Reviews

60 of 66 people found the following review helpful By Mary Whipple HALL OF FAMETOP 100 REVIEWER on November 26, 2004
Format: DVD
This suspense-filled story of hitman Michael Sullivan, directed by Sam Mendes, has as much style and cinematic brilliance as his American Beauty, though it is much darker. Sullivan (Tom Hanks), the adoptive son of John Rooney (Paul Newman), is a cold-blooded killer working for his crime boss "father" in the winter of 1931, when his own twelve-year-old son, Mike Jr., inadvertently witnesses a "hit" in which his father participates.

Subsequently, the Sullivans, father and son, take off for Chicago to meet with Frank Nitti (Stanley Tucci), underworld lieutenant to Al Capone. Mike Sullivan, Sr. is also hoping to get to Perdition, an appropriately named Midwestern town, so he can leave is son with his sister-in-law. Sadistic hitman Harlan Maguire (Jude Law), who enjoys photographing the death throes of his victims, is soon on the Sullivans' trail to through the midwest.

Conrad L. Hall, to whom the film is dedicated, uses photography to its fullest advantage winning a posthumous Academy Award for his cinematography. Shot in winter, the film preserves the flavor of early black and white films, with sharp contrasts, and the use of dark, somber colors, when colors are used at all. Snow, ice, rain, and fog perpetuate the cold darkness of the scenes, and Hall's use of architectural framing is stunning, particularly his repeated use of windows. He keeps the scenes simple, often focusing on individual characters in contexts which reveal their emotional states. In one memorable scene, for example, light from a streetlight outside a window casts the shadow of rain on an interior wall, suggesting both tears and cleansing.

Newman is terrific as an aging mob boss, playing his part with just the right mix of frailty and cruelty (for which he was nominated for an Academy Award).
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34 of 37 people found the following review helpful By Amazon Customer TOP 500 REVIEWERVINE VOICE on July 26, 2002
ROAD TO PERDITION is a major departure for Tom Hanks. He kills people. And don't expect to see Meg Ryan as a cutely tousled co-star. Besides, it rains so much in this film that it would've made her look like a wet doggie.
It's 1931, and Hanks plays Michael Sullivan, an enforcer working for crime family head John Rooney (Paul Newman). Though Rooney has an adult son, Connor (Daniel Craig), he regards Michael with the affection reserved for the son he wishes he'd had. Sullivan himself has a wife and two boys. In the film's first half-hour, Connor botches a job assigned to him and Michael by the elder Rooney. In the aftermath of the debacle, Connor kills Michael's wife and his youngest (and favorite) son for reasons too complicated to explain here. For the remainder of the film, Sullivan goes on the lam with Michael, Jr. (Tyler Hoechlin) seeking revenge against Connor while evading a hit man named Maguire (Jude Law) reluctantly hired by John Rooney to pre-empt the reprisal slaying of his own badly behaved offspring.
Those who are turned off by ROAD TO PERDITION because of the bloody deeds performed by Hollywood Good Fella Hanks, akin to watching Jimmy Stewart in the role of someone who kicks puppies, are perhaps missing the point. This is a powerful tale of the dynamic that exists between fathers and sons: John and Connor, Michael and Michael, Jr., and John and Michael. This is a Guy Story to be sure. Indeed, in the entire film there's no female lead worth mentioning and very little softness. Much of the magnificent cinematography is done in the dark, brooding atmospheres that one could expect in the Male's Cave. That's not to say that there's no humor.
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41 of 50 people found the following review helpful By MICHAEL ACUNA on July 15, 2002
Sam Mendes' "The Road to Perdition" is a film about family: extended, brother against brother, father and sons and ultimately father against sons. It's about the world of Men in much the same tradition as "East of Eden," which it thematically resembles. Mendes tackles big ideas here: the sanctity of the family, a father's love of family, a father's right to protect his family and a natural versus an adopted son's place in a family (the right of succession). But Mendes uses the small details of life to develop these themes so that his lofty ideas have a pervasive as well as persuasive effect on the viewer.
Michael Sullivan (Tom Hanks) is a family man (2 sons, Michael Jr. and Peter) who works for John Rooney (Paul Newman) as a bodyguard and hit man. John has a son, Connor (David Craig)who is intensely jealous of his father's relationship with Michael. It is obvious that John prefers Michael: strong, obedient, intelligent, over his natural son, Connor: weak, smarmy, conniving, underhanded, hotheaded.
One evening, Michael Jr., eager and curious to find out what exactly his father does for a living, hides in his father's car while Michael Sr. goes out on a "business call" with Connor to strong arm an associate that ends with Connor recklessly killing the associate with Michael Jr. witnessing the entire event.
This proves to be the turning point in the film and the event that sets the remainder of the film in motion: can Michael Jr. be trusted to keep his mouth shut? Connor has some definite ideas about this.
One of the most impressive set pieces of the film is a showdown between Michael and John Rooney and his henchman on a public street at night in the pouring rain, shot with absolutely no sound nor blood in sight.
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