A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity.
1931. Mike Sullivan and Connor Rooney are two henchmen of elderly Chicago-based Irish-American mobster John Rooney, Connor's father. In many respects, John treats Mike more as his son, who he raised as his own after Mike was orphaned, than the volatile Connor, who nonetheless sees himself as the heir apparent to the family business. One evening, Mike's eldest son, twelve year old Michael Sullivan Jr., who has no idea what his father does for a living, witnesses Connor and his father gun down an associate and his men, the situation gone wrong initiated from an action by Connor. Caught witnessing the incident, Michael is sworn to secrecy about what he saw. Regardless, Connor, not wanting any loose ends, makes an attempt to kill Mike, his wife and their two sons. Mike and the surviving members of his family know that they need to go on the run as Connor, who has gone into hiding, will be protected through mob loyalty, especially by John, who cannot turn on his own flesh and blood. Still,... Written by
One of the locations for one of the bank robberies was physically perfect but the wrong way round. There was only room to shoot from right to left and not vice versa. So production designer Dennis Gassner and his team had to dress the location, reversing street signs, license plates and even switching steering wheels on all the cars. See more »
When Michael and his son first arrive in Chicago, there is a brief shot of bright silver metal cars on the El. They were introduced in the 1980s. In 1931, the cars would have been made of wood and painted dark brown. See more »
Michael Sullivan, Jr.:
There are many stories about Michael Sullivan. Some say he was a decent man. Some say there was no good in him at all. But I once spent 6 weeks on the road with him, in the winter of 1931. This is our story.
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Thanks to all at the Donmar Warehouse Theatre, London See more »
This film is a very well acted film. I will say that the performances are slightly weak at times; but for the most part, the acting is very good. The only actor that blew me away with his performance was Jude Law as Harlen Maguire. He was incredible! Tom Hanks seemed alittle unsure at at a few points throughout the film but he too was incredible. Paul Newman, good as always.
This is what made the movie a masterpiece (and I rarely use that word). Conrad Hall is a true genius. If at any point in the movie you were to pause it, you will see the delicately crafted work of this man. He sets up every shot so that nothing is left out. When the camera is still, there is a postcard like quality to the screen. When the camera is moving, every shot is planned to understated perfection. But it doesn't stop there. Conrads choice of colors and contrast between light and dark settings is a work of art. The way he lights the set is some of the most amazing lighting work I've seen. His work on this movie made it what it is. This movie is at the top of the list for best Cinematography with LOTR, Black Hawk Down, Hero, CTHD, Moulin Rouge, and Vertigo.
People will say this movie is a 1930s gangster flick but, I believe they missed the point of the movie. It is a love story about a hit-man who fails in trying to protect his son from the life he chose. It is a brilliantly crafted story that unfolds into a beautiful bond between two people who have nothing but each other. The screen Writing is worthy of an Oscar.
Thomas Newman conducts a sad but hopeful score to intensify this sad but hopeful story. The music is some of the most beautiful and moving scores I've herd.
Sam Mendes is a new director with a feel of an experienced director. The symbols he uses and the performances he gets from his actors is a rarity in todays film-making world. I will be on the lookout for the next Sam Mendes Film.
10/10 one of the most moving and beautiful movies I've ever seen.
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