Hit Man

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 he has done Mike Sullivan finds him self on the run trying to save the life of his son and at the same time looking for revenge on those who wronged him. Jude Law co stars as a hit man hired to kill Sullivan.

At the center of "Pale Flower" stands a very quiet man, closed within himself, a professional killer. He works for a gang in the Yakuza, the Japanese Mafia, and as the film begins he has returned to Tokyo after serving a prison sentence for murder. He did the prison time as the price to be paid for committing a murder, but although we see his gang boss several times, even in a dentist's chair, there is no effort to make him seem worthy of such loyalty. He is an ordinary older man. Muraki (Ryo Ikebe), the yakuza, seems loyal more to the ideal of loyalty, a version of the samurai code. It is his fate to be a soldier and follow orders, and he is the instrument of that destiny. He thinks his crime was "stupid," but he is observing, not complaining.

At the center of "Pale Flower" stands a very quiet man, closed within himself, a professional killer. He works for a gang in the Yakuza, the Japanese Mafia, and as the film begins he has returned to Tokyo after serving a prison sentence for murder. He did the prison time as the price to be paid for committing a murder, but although we see his gang boss several times, even in a dentist's chair, there is no effort to make him seem worthy of such loyalty. He is an ordinary older man. Muraki (Ryo Ikebe), the yakuza, seems loyal more to the ideal of loyalty, a version of the samurai code. It is his fate to be a soldier and follow orders, and he is the instrument of that destiny. He thinks his crime was "stupid," but he is observing, not complaining.

As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home: a ruinous dust storm and a convertible crazily driven by Red, the missus' brother. A roguish country-western musician, he has just been invited to audition for the Grand Ole Opry, his chance of a lifetime to become a success. However, this is way back in Nashville, Red clearly drives terribly, and he's broke and sick with tuberculosis to boot. Whit, 14, seeing his own chance of a lifetime to avoid 'growing up to be a cotton picker all my life,' begs Ma to let him go with Uncle Red as driver and protege. Thus begins a picaresque journey both hilarious and poignant.