The best movie for Tom Hanks is a comic book movie

by Joshua Tyler
| Published One before the second

Killing is a cold and meaningless act. Those who make them their lives, necessarily, be difficult and brutal men. The road to destruction Never deviate from that, but somehow, in the emotionally empty mafia killers, you find warmth, depth and spirit.

It was first released in 2002, this second film from American beauty Director Sam Minds offers a very pelvic and tough look in the world of Irish mob. Michael Sullivan (Tom Hanks) is in the middle of it, as head of the Ghob John Rooney (Paul Newman) “Death Angel”. Cabon Ronnie, Sullivan and his family grew up, were granted a poetic life, only marred by Sullivan’s dark work.

When his older son Michael Junior (Tyler Huwaisen) witnesses my father takes care of business, their world is broken, as his excessive son Rooney (Daniel Craig) kills Sullivan’s wife and the youngest child in response. Now, Sullivan must put his loyalty to the test to protect his older son Michael and buy a life for them.

The road to destruction It is not a satirical simulation of the Irish or Italian mafia, which was full of cliché characters that are expected to ski on the “family”. Instead, it is not clear to the lines between right and wrong, a beautiful look and a layer in the heart of a man who commits killing but knows the difference between good and evil.

Hanks is not a hero, although he could play this way, Mendes allowed it. But we have never been allowed to stop and try to rationalize his actions with necessary calories. instead of, destruction He continues to remind us that the man we used to throw in the role of the saint is ruthless, and without regret.

It is Hanks that makes it work. Sullivan is dark, silent and not transmitted. Hanks’s natural admiration could have made this feeling of life difficult, but he used his true and true personality to preserve good and evil lines throughout the movie. It is hidden. Every expression has meaning, every depression tells a story. He is smart, calculated, and cold. Sullivan is cold but never calm: honest, loyal, care, but ready and ready to kill.

This dark and rainy movie is not lost on its endeavor to explore and redemption. There is no scene, no role without purpose. Even a random killer (in this case he played Jude Lu) Although he says little and seems only to bring death, he becomes a real person and breathing while completing the motivation, personality and depth. The law is unparalleled has a strange ability to completely inhabit his personality, until he adopts behaviors, speech patterns and movements that may seem illogical, but when added together, it creates an individual and blood behind the trigger.

Newman draws everything there to get out of his personality, and he is a bleak and evil man who in some way appears to be found in his hands veteran warriors. On his way throughout the story, like the outstanding outcome of the film, John Rooney walks from Newman on a way towards an inevitable, unwilling or unable to stop the wheels that his diabolical son has already started.

Stowed in rain, snow and beautifully framed shots for an indigenous gray world, The road to destruction It avoids the easy side simplification of many other modern films. Mendes remains the path and keeps us wondering about the man’s morals. Using sound, light and shade, it develops a layer unlike anything else, while lead mixes with a shocking explosion and absolute silence across the screen.

Part of the next story, part of the tragedy, where destruction The best that he succeeded was by reaching the heart of Sullivan and his son directly and seizing it. The road to destruction Above all possible expectations to present a creative, deliberate and rewarding creative film on which the Oscar offers from all concerned.

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