Mike Sullivan works as a hit man for crime boss John Rooney. Sullivan views Rooney as a father figure, however after his son is witness to a killing, Mike Sullivan finds himself on the run in attempt to save the life of his son and at the same time looking for revenge on those who wronged him.
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Credits: TheMovieDb.

Film Cast:

• Michael Sullivan: Tom Hanks
• John Rooney: Paul Newman
• Harlen Maguire: Jude Law
• Annie Sullivan: Jennifer Jason Leigh
• Frank Nitti: Stanley Tucci
• Connor Rooney: Daniel Craig
• Michael Sullivan, Jr.: Tyler Hoechlin
• Peter Sullivan: Liam Aiken
• Alexander Rance: Dylan Baker
• Finn McGovern: Ciarán Hinds
• Jack Kelly: David Darlow
• Frank the Bouncer: Kevin Chamberlin
• Calvino: Doug Spinuzza
• Tenement Murderer: Kurt Naebig
• Father Callaway: Duane Sharp
• Motel Manager: Michael Sassone
• Nitti’s Henchman: Roderick Peeples
• Nitti’s Henchman: Keith Kupferer
• Ruby the Waitress: Lara Phillips
• Betty the Waitress: Mina Badie
• Prostitute: Heidi Jayne Netzley
• Crime Scene Policeman: Lance Baker
• Boy Michael Fights: Nicolas Cade
• Rooney’s Business Associate: John Judd
• Rooney’s Henchman: Kerry Rossall
• Rooney’s Henchman: Ian Barford
• Drug Store Owner: Rob Maxey
• Michael’s Teacher: Maureen Gallagher
• Aunt Sarah: Diane Dorsey
• Mr. McDougal: Harry Groener
• Farmer Virginia: Peggy Roeder
• Farmer Bill: James Greene
• Al Capone (uncredited): Anthony LaPaglia
• Finn McGovern’s Henchman: Paul Turner

Film Crew:

• Original Music Composer: Thomas Newman
• Producer: Sam Mendes
• In Memory Of: Conrad L. Hall
• Casting: Debra Zane
• Chief Lighting Technician: Tom Stern
• Casting Associate: Terri Taylor
• Set Decoration: Nancy Haigh
• Producer: Richard D. Zanuck
• Production Design: Dennis Gassner
• Executive Producer: Walter F. Parkes
• Editor: Jill Bilcock
• First Assistant Director: K.C. Hodenfield
• Music Editor: Bill Bernstein
• Associate Producer: Cherylanne Martin
• Art Direction: Richard L. Johnson
• Costume Design: Albert Wolsky
• Utility Stunts: Joey Box
• Executive Producer: Joan Bradshaw
• Supervising Sound Editor: Scott Hecker
• Makeup Artist: Daniel C. Striepeke
• Leadman: Daniel B. Clancy
• Production Secretary: Michael Bender
• Novel: Max Allan Collins
• Novel: Richard Piers Rayner
• Screenplay: David Self
• Assistant Art Director: Ted Haigh
• Casting Consultant: Mickie Paskal
• First Assistant Editor: Dan Schalk
• First Assistant Editor: Celia Haining
• Grip: Christopher Glasgow
• First Assistant Camera: Clyde E. Bryan
• Dialect Coach: Carla Meyer
• Second Unit Director: Doug Coleman
• ADR Voice Casting: Barbara Harris
• Editorial Production Assistant: Aaron Richmond
• Still Photographer: François Duhamel
• Assistant Chief Lighting Technician: Ross Dunkerley
• Assistant Production Coordinator: Gabriela Ríos
• Producer: Dean Zanuck
• Assistant Costume Designer: Marcy Grace Froehlich
• Assistant Art Director: Thomas Minton
• Costume Supervisor: Robert Q. Mathews
• Assistant Art Director: Jann K. Engel
• Additional Casting: Judith Bouley
• Post Production Supervisor: Erica Frauman
• Boom Operator: David M. Roberts
• Construction Coordinator: Jeff Passanante
• Sound Re-Recording Mixer: Scott Millan
• Set Production Assistant: Jill S. Litwin
• Camera Operator: P. Scott Sakamoto
• Music Consultant: George Budd
• Special Effects Coordinator: Allen Hall
• Property Master: Doug Harlocker
• Sound Re-Recording Mixer: Bob Beemer
• Transportation Coordinator: Robert Neilson
• Dialogue Editor: Benjamin Beardwood
• Unit Publicist: Amanda Brand
• Hairstylist: Kathryn Blondell
• Visual Effects Supervisor: Michael L. Fink
• Sound Effects Editor: Jason W. Jennings
• Visual Effects Production Manager: Tiffany Smith
• Production Accountant: Kathryn Mindala
• Assistant Property Master: Guillaume DeLouche
• Set Decorating Coordinator: Benjamin Nowicki
• Propmaker: John J. Slove Jr.
• Key Costumer: Jennifer Jobst
• Foley Artist: Matthew Dettmann
• Supervising ADR Editor: Joe Dorn
• Set Dresser: Paige Augustine
• ADR Mixer: Howard London
• Production Assistant: Chris Castaldi
• 3D Supervisor: Jeffrey Edward Baksinski
• Associate Producer: Tara B. Cook
• Production Executive: Steven R. Molen
• Set Designer: Kerry Sanders
• Set Costumer: Patrick Caulfield
• Set Costumer: Heather Pollock
• Seamstress: Jane Blank
• Production Sound Mixer: John Pritchett
• Visual Effects Producer: Paul Clemente
• Art Department Coordinator: Chris Cummings
• Dialogue Editor: Gary Lewis
• Visual Effects Editor: Paul Howarth
• Assistant Costume Designer: Susan Kowarsh
• Orchestrator: Thomas Pasatieri
• Choreographer: Mark Howard
• Choreographer: Harrison McEldowney
• Foley Editor: Mark Pappas
• Key Rigging Grip: Gerald A. King
• Assistant Sound Editor: Carmen Flores De Tanis
• Color Timer: Phil Hetos
• Construction Foreman: James M. Davis
• Art Department Assistant: William Patterson
• Greensman: Phillip Ellman
• Location Scout: Carrie Goodman
• Painter: Anthony Joseph Fatigato
• Standby Painter: Henry Schaub
• Key Grip: Kelly R. Borisy
• Craft Service: Kathryn Madden
• Driver: George Hartmann
• Executive Music Producer: Todd Homme
• Camera Loader: Matthew Haskins
• Picture Car Coordinator: Bud Belyeu
• Production Controller: Jim Turner
• Production Office Assistant: Heather Sharpe
• Projection: Brian Lunt
• Stand In: Michael Clossin
• Stunts: Frank P. Calzavara
• Transportation Captain: James Hogan
• Transportation Co-Captain: Joseph Paoletti
• Unit Production Manager: Michael J. Malone
• Best Boy Electric: Chris Glomp
• Electrician: Cortland Boyd
• Gaffer: Rick Thomas
• Rigging Gaffer: Vince Cordero
• Rigging Grip: James F. Roorda
• Location Manager: Stephen Andrzejewski
• Production Coordinator: Dhana Gilbert
• Scoring Mixer: Thomas Vicari
• Sound Engineer: Bill Banyai
• Foley Mixer: Lane Burch
• Assistant Editor: Lea Morement
• Armorer: Harry Lu
• Libra Head Technician: Kelly Diehl
• Costumer: Gretchen Gain
• Location Assistant: Melanie Cassidy
• Negative Cutter: Gary Burritt
• Musician: Chris Tedesco
• Dolly Grip: Mike Schwake
• Second Assistant Director: Jeff Okabayashi
• Casting Assistant: Pamela Lynn Thomas
• Special Effects Technician: Thomas Kittle
• Best Boy Grip: Fred Folmer
• Assistant Makeup Artist: Aimee Lippert
• Travel Coordinator: Kyoko Kageyama
• Swing: Tom Gagnon
• Second Assistant Camera: Suzanne Trucks
• Payroll Accountant: Renee D. Czarapata
• Post Production Coordinator: Sven E. Fahlgren
• Extras Casting Assistant: Jamie Biehl
• Second Second Assistant Director: Steve Battaglia
• Stunt Double: Kim Kahana Jr.
• Assistant Camera: Chris Buzek
• Assistant Location Manager: Martin L. Hudson
• First Assistant Accountant: Kurt Greufe
• Head of Production: Dennis Hoffman
• Rotoscoping Artist: Krystine Lankenau
• Second Assistant Accountant: James D’Damery Jr.
• Technical Advisor: Larry McCaffrey

Movie Reviews:

• John Chard: Damnation Alleyway.

  When his son witnesses him enacting a hit, mob enforcer Michael Sullivan finds that the man whom he likened to a father has ordered a hit on him and his family. Too late to save his wife and youngest child, Sullivan goes on the run with his eldest boy and plots revenge along the way.

  How refreshing to find a gangster movie in the modern age, more so, how refreshing to find a gangster movie set in the early 1930s and not involving foul mouthed Mafioso types. Directed by Sam Mendes and starring Tom Hanks, Paul Newman, Daniel Craig and Jude Law, Road To Perdition is an adaptation of the Graphic Novel that was brought to us by Max Allan Collins & Richard Piers Rayner. The film deals with themes of violence and its consequences and fathers and sons, set to a watery back drop during the Great Depression. It’s also a pulse pinging treat of visual magnificence thanks to cinematographer Conrad L. Hall (his last film before he passed away).

  Comparisons with great gangster film’s of the past are inevitable, but Mendes’ film has more in common with something like “Eastwood’s Unforgiven” and “John Ford’s The Searchers”, the journey of the lead protagonist is fraught and telling, and motivated by circumstance. Yet the trick for first time viewers that Road To Perdition has up its sleeve, is that we don’t know how it will work out for Hanks’ Sullivan. It makes for a riveting experience with many transcendent rewards along the way.

  As regards the cast, Hanks is a touch miscast, but his play off relationship with the quite terrific Newman gives the film some solid ground from which to launch the sombre story. Daniel Craig does a nifty line in weasel and Law convinces as a mouldy toothed hired killer who enjoys taking photographs of his victims. Pic has almost philosophical mediations on good and bad, and it’s elegiacally drawn by Mendes. The melancholic mood is enhanced by Thomas Newman’s musical score, where he reworks his “Shawshank Redemption” score for narrative tightness.

  The film thrives as a poetic and atmospheric piece. The story might be basic, but it manages to rise above that because it be a superbly directed and well acted picture. One that just happens to be beautiful in spite of the bleakness that lingers on the main protagonist and the journey he undertakes. 8/10