Joe Coughlin was born and raised in a good family, his father was the police captain and they were a respected family in the neighbourhood. Joe was the dark horse and fell in with the wrong crowd from an influential age. It was 1920's and Joe and the rest of the Coughlin family lived in the thriving city of Boston. Joe constantly seemed to be pulling in a different direction to that of his father and mixed with some of the town's most feared bosses responsible for any number of crimes from running alcohol to robbery.
Caught in the middle of a war between mob bosses, Joe ends up ripping off the wrong guy in more than one way as he also steals his woman. Everything appears to be going for Joe and his small gang but their next heist is a chance too far and sees Joe being put in prison for robbery. Once again, Joe finds himself falling in with another powerful boss who offers him protection in prison - but at a cost.
With his eventual release, Joe moves to Florida to begin over seeing a rum smuggling operation but as Joe finds love he begins to realise that there's more to life than working on someone else's terms but perhaps he's too deeply connected to ever be able to give up the life he's made for himself.
How a Polish script, a German director, an Australian lead actress, and an Italian-American actor managed to concoct such an authentic vision of the deceased French filmmaker is beyond comprehension, but they accomplished it nonetheless. Heaven looks, feels, and sounds like a Kieslowski film with its limited dialogue and slow, deliberate pacing, but it's actually the product of Tom Tykwer, who directed the acclaimed films Run Lola Run, and The Princess and the Warrior. Tykwer gives credit to Kieslowski's writing, but the cinematography, the scenes, the sound design, and the performances are a result of his decisions.
Continue reading: Heaven Review
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