Sandman Slim returns in a stunning, high-octane thriller filled with the intense kick-ass action and inventive fantasy that are the hallmarks of New York. The Heat's On (1943), a film by Gregory Ratoff -Theiapolis. Directed by Gregory Ratoff, «The Heat's On» is a 1943 film, starring Mae West, Victor. From Architect’s Promise to Inmate’s Perdition. Photos We Love; EVENTS. Awards Central; Sundance; Cannes. Enhance your IMDb Page. L'homme de Londres (1943) 6.9 /10. Road to Perdition Reviews - Metacritic. Moody, methodical and measured, “Road to Perdition” takes a brooding look at the wages of sin and the heritage of violence among hoodlums during the dark days of Prohibition. Predominantly concerned about the passing of nasty traditions from fathers to sons, and the strenuous effort of one killer to be redeemed through his boy, Sam Mendes’ much- anticipated second effort after his Oscar- winning “American Beauty” finds him working in a very different key while displaying an even more pronounced attentiveness to tone, genre variations and artistic niceties. Absorbing drama sees Tom Hanks fitting comfortably into the role of a morally aware bad guy, and while history has shown that one should never underestimate Hanks’ extraordinary B. O. Its seriousness notwithstanding, crime drama looks to play well with all audiences, although appeal to women could be somewhat limited. Rooney, now an old man, has seen his biological son, Connor (Daniel Craig), go hopelessly astray into reckless (as opposed to “respectable”) criminality, while Sullivan still hopes he can somehow keep his two pre- teen boys from inheriting his bloody legacy, having kept the nature of his work a secret for as long as possible.
Sullivan offers to go to work for Al Capone’s (real- life) right- hand man, Frank Nitti (Stanley Tucci), for whom he has done jobs in the past. But Nitti’s ties to the Rooneys prove more binding, resulting in the Italian’s recruitment of gimpy freelance hitman (and professional crime- scene photographer) Maguire (Jude Law) to do Sullivan in. The latter he achieves through the ingenious ruse of robbing small- town banks where the Chicagoans have deposited “dirty” money, a sequence of events wonderfully and concisely expressed in a fluid montage of lateral left- to- right tracking shots intermingled with Maguire calmly rolling a quarter through his filthy fingers. Significantly less satisfying is a crucial encounter Sullivan has with a mob accountant (Dylan Baker) who inexplicably is running around the boondocks with incriminating financial documents in hand. After Sullivan manages to exact the rain- soaked revenge he has so patiently sought, climax and coda fulfill the promise of fateful inevitability while providing the right measure of final dramatic release. But the picture is able to deflect charges of preciousness by putting narrative and character first; it’s suffused in a distinct sense of aestheticism, but not artiness. Of all the film’s accomplished creative contributions, certainly the most notable is Conrad Hall’s extraordinary cinematography.
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