Adapted and fleshed out by screenwriter David Self ("Thirteen Days," "The Haunting") from Max Allan Collins and Richard Piers Rayner's original graphic novel, the film tells the tale of a Depression era hitman who goes on the run from the mob with his only surviving son after a corrupt mob figure kills the rest of his family.
David Self, who previously wrote the focused "Thirteen Days" and the out-of-control "The Haunting," has made some very shrewd changes to the original that increase its emotional wattage.
Surely the ingredients are all in place for a moving epic: "Beauty" cinematographer Conrad L. Hall paints each frame with delicate swaths of light and shadow, "Thirteen Days" screenwriter David Self follows the path of the classic tragic morality tale, and 12-year-old newcomer Tyler Hoechlin convincingly portrays a conflicted son without a hint of preciousness.
The story, written as a graphic novel by Max Allan Collins and Richard Piers Rayner, and adapted into the screenplay by David Self (who also penned the excellent Thirteen Days ), the story takes place in 1931, at the height of prohibition, the Depression, and, if you'll pardon the pun, mob rule.
Filmgoers might be familiar with Reggio’s name from his previous three films — “ Koyaanisqatsi ,” “ Powaqqatsi ” and “ Naqoyqatsi ” — which coined a cinematic language all their own, combining a cascade of images, stream-of-consciousness editing, time-lapse photography and the ever-present Glass score, an evocative ostinato of moody foreboding.
According to the film’s official synopsis, this black-and-white effort from the director of Koyaanisqatsi “reveals humanity’s trancelike relationship with technology, which, when commandeered by extreme emotional states, produces massive effects far beyond the human species.”
Best known for 1982’s dreamlike Koyaanisqatsi, director Reggio segues from the “life out of balance” visual premise of his stunning debut to a calmer – but no less astonishing – deconstruction of the planet’s current state of singularly impressive distress.
Remember all those “Qatsi” movies – “Koyaanisqatsi,” “Powaqqatsi,” and “Naqoyqatsi”?