To see Sam Mendes team up once again with Conrad Hall is see and hope for the same excellent result in filmmaking which was accomplished with American Beauty. Somehow though, it did not happen. Road to Perdition is too long and misses the mark, the idea of fathers and sons and redemption vs. perdition, is one that could have been used with a much more poignant and visceral message and deliverance. What's more, the right actors were all there for Mr. Mendes. Finding oneself in the company of Paul Newman, Tom Hanks and Jude Law certainly gives one room for superior performances, but there is no punch to the story and the actors all seem somewhat misused (not to be mistaken with miscast) by the slow pace of the film and the lack of a definitive or strong arc in story.
Mr. Hall, as per usual, shoots the film with beauty and style, yet it is frustrating to watch the camera not come in close at moments that could have been so much more if we were allowed closer to the faces in frame. But it is the director's picture, so I find Mr. Mendes to be the one at fault for this oversight. I also thought the editors could have done a better job in the cutting room. While I have no problem with movies that run long, I do have a problem with movies that run long due to not being trimmed down to the essence of the story. The film, in that sense, was somewhat vague and rambling.
All of the above being said, both Paul Newman and Tom Hanks were right on the money. So also was Jude Law, although it seemed as if his part in the film was not maximized to what it could have been. Close ups or no, Conrad Hall hits paydirt with his cinematography and given that this was his last film, it is a consoling thought to think that he left at the top of his game. One of the best, he weaves a dark tapestry with careful use of light to convey the world of his subjects.
Certainly not a bad film but a little disappointing given the expectations going into it. And for $80 million dollars, I believe they could have done a much better job than this.
Mr. Hall, as per usual, shoots the film with beauty and style, yet it is frustrating to watch the camera not come in close at moments that could have been so much more if we were allowed closer to the faces in frame. But it is the director's picture, so I find Mr. Mendes to be the one at fault for this oversight. I also thought the editors could have done a better job in the cutting room. While I have no problem with movies that run long, I do have a problem with movies that run long due to not being trimmed down to the essence of the story. The film, in that sense, was somewhat vague and rambling.
All of the above being said, both Paul Newman and Tom Hanks were right on the money. So also was Jude Law, although it seemed as if his part in the film was not maximized to what it could have been. Close ups or no, Conrad Hall hits paydirt with his cinematography and given that this was his last film, it is a consoling thought to think that he left at the top of his game. One of the best, he weaves a dark tapestry with careful use of light to convey the world of his subjects.
Certainly not a bad film but a little disappointing given the expectations going into it. And for $80 million dollars, I believe they could have done a much better job than this.