Its very interesting that this movie takes place in generations past, where the father makes the sacrifice to lead a life he wouldn’t have desired, for the sole intention of bettering the future for his children. Sometimes our society seems so focused on the present without any regard for our future. Then again, maybe being a hit man isn’t the best way to go about providing for your family.

Road to Perdition is part crime movie, part revenge movie, with a lot of double crossing and a few western style shoot outs. But it’s mostly about father-son relationships. Director Sam Mendes (American Beauty) brilliantly recreates the atmosphere of the 1930s. The movie looks fantastic, with outstanding costumes and scenery. I for one wish fedoras were more prominent today. The music is very compelling, as it was in American Beauty, with songs from the era, as well as a somber but engaging overall score.

In a small town in Illinois circa 1931, Tom Hanks plays Michael Sullivan, the number one hit man for a Chicago mob affiliate headed by John Rooney (Paul Newman). On assignment with Rooney’s son Conner (David Craig), Sullivan unknowingly takes his older son Michael Jr. (Tyler Hoechlin) with them. The boy witnesses Conner killing a fellow henchmen in Rooney’s gang, while his father shoots two other gangsters. Conner, who despises Sullivan because of his relationship with Rooney Sr., has no problem in deciding to silence Sullivan and his family. Now on the run, Sullivan must protect his son while avoiding hired photographer/assassin Maguire (Jude Law).

Michael Sullivans Jr. and Sr., John Rooney, and Conner Rooney are the main focus of this film, the Sullivans being the primary, with the rest of the plot serving more as a means to an end rather than a fleshed out story. Fortunately, with actors like Hanks and Newman, you don’t need much else. The idea itself of nice guy Hanks playing a hit man would seem far fetched, but Hanks doesn’t disappoint, and with his pedigree and talent, it’s foolish to bet against him. He isn’t the killer with the heart of gold, he is a man who will do anything to protect his family, regardless if it results in more violence and death. Newman once again shows that an actor can continue to expand his repertoire, even in his mid-seventies. The role of the crime boss has had several memorable moments over the years from Marlon Brando in Godfather to James Gandolfini in the Sopranos, with several others in between. Newman brings his own complexities, a sense of dedication to his biological son conflicted with his real connection to Sullivan. His calm yet undeniably focused manner, and some might say stubborn dedication to his own code of ethics and dispensing his brand of justice, are what makes Rooney such a fascinating character. As Conner, Craig embodies the insecurity of a rejected son, jealous of the replacement of his father’s affection. Perhaps the only disappointment is Hoechlin as Michael Jr. While he has certainly not graduated from the Tobey Maguire school of bland acting, he definitely has taken a few classes there. Kind of ironic considering the king of understatement, his highness Mr. Newman, was in the same movie.

While certain moments are trite, mainly at the very end, it doesn’t really slow down at any point. This isn’t a film that delves into the inner-workings of the mafia, it’s really more of a character/relationship driven movie, done with a style both unique and coherent. The violence and blood isn’t over the top, although it does exist. This movie focuses on variations of relationships between fathers and sons, and does so very well.

Rating: ***1/2