Rating: 
Summary: Quirky little movie
Review: "A Perfect World" is the kind of slow-fuse drama that both Clint Eastwood and Kevin Costner are known for. Both filmmakers prefer to focus on character development over fast-paced action; both gradually build their films up to emotionally draining conclusions (see "Unforgiven," "Open Range," and this film).This movie defies all expectations and emerges as a thoughtful, quirky little drama about the consequences of child abuse and neglect. Though billed as a confrontation between Clint and Kev, the two stars play only one scene together, and that in long shot. The movie consciously avoids over-the-top action and melodrama, finding instead strange moments of humor that emerge when you least expect it. There is violence in the picture, and yet another mature consideration of gunplay (as in "Unforgiven"), but most of the violence is off screen and is not the focal point of the picture. This isn't "Dirty Harry." Costner gets the lion's share of screen time as Butch Haynes, an escaped convict who takes a little boy hostage. The movie isn't so much about a manhunt, however, as it is the stunningly odd relationship that develops between con and kid. Both have been held captive: Butch, by the penal system, the kid, by institutionalized religion. Both are also without fathers. It's a sad, doomed relationship, but one in which both characters find redemption. The movie is flawed. Clint's direction is uneven; I think there were some missed dramatic opportunities here. The climax is noticeably protracted; I doubt a man with a gut wound could wander as far out in the country as does one of the characters. You could almost say that, in spite of all the big stars, nothing happens. And Laura Dern is completely out of place and mis-cast; her final scene (a knee in the groin to Bradley Whitford) plays jarringly to the audience. The saving graces are Costner and T.J. Lowther, as the kid, Phillip. Costner shows that he has true grit as an actor, giving a movie star turn that is far-removed from his Crash Davis in "Bull Durham" and John Dunbar in "Dances With Wolves." We can see that Butch is messed up and not a good person -- but neither, as he himself points out, is he the worst. This is one of Costner's best performances and I really hope he returns to this style of work. Eastwood is credible as Texas Ranger Red Garnett, but that's about it; I understand his character was extensively re-written so Clint could have more screen time, and it feels that way. In short, Costner's performance for a change far outshines the movie that it's in. "A Perfect World" isn't bad, but it's not the best, either.
Rating:
Summary: Quirky little movie
Review: "A Perfect World" is the kind of slow-fuse drama that both Clint Eastwood and Kevin Costner are known for. Both filmmakers prefer to focus on character development over fast-paced action; both gradually build their films up to emotionally draining conclusions (see "Unforgiven," "Open Range," and this film). This movie defies all expectations and emerges as a thoughtful, quirky little drama about the consequences of child abuse and neglect. Though billed as a confrontation between Clint and Kev, the two stars play only one scene together, and that in long shot. The movie consciously avoids over-the-top action and melodrama, finding instead strange moments of humor that emerge when you least expect it. There is violence in the picture, and yet another mature consideration of gunplay (as in "Unforgiven"), but most of the violence is off screen and is not the focal point of the picture. This isn't "Dirty Harry." Costner gets the lion's share of screen time as Butch Haynes, an escaped convict who takes a little boy hostage. The movie isn't so much about a manhunt, however, as it is the stunningly odd relationship that develops between con and kid. Both have been held captive: Butch, by the penal system, the kid, by institutionalized religion. Both are also without fathers. It's a sad, doomed relationship, but one in which both characters find redemption. The movie is flawed. Clint's direction is uneven; I think there were some missed dramatic opportunities here. The climax is noticeably protracted; I doubt a man with a gut wound could wander as far out in the country as does one of the characters. You could almost say that, in spite of all the big stars, nothing happens. And Laura Dern is completely out of place and mis-cast; her final scene (a knee in the groin to Bradley Whitford) plays jarringly to the audience. The saving graces are Costner and T.J. Lowther, as the kid, Phillip. Costner shows that he has true grit as an actor, giving a movie star turn that is far-removed from his Crash Davis in "Bull Durham" and John Dunbar in "Dances With Wolves." We can see that Butch is messed up and not a good person -- but neither, as he himself points out, is he the worst. This is one of Costner's best performances and I really hope he returns to this style of work. Eastwood is credible as Texas Ranger Red Garnett, but that's about it; I understand his character was extensively re-written so Clint could have more screen time, and it feels that way. In short, Costner's performance for a change far outshines the movie that it's in. "A Perfect World" isn't bad, but it's not the best, either.
Rating: 
Summary: Powerful and Moving
Review: 'A Perfect World' is a movie I saw years ago when it was first released and stayed with me. It would pop to the forefront of my mind in the oddest of circumstances. I thought it was just the image of a child in a Casper the Friendly Ghost costume roaming the countryside that made the film memorable, but upon seeing it again last week I realized that as interesting as that image is to me, 'A Perfect World' is simply a very well crafted movie. Costner is in rare form (I havent seen as good a performance from him since 'Dances With Wolves') and the child actor has given us one of the truest depictions of childhood in years. The story itself asks questions such as what makes us who we are, is it possible to change, what is the emotional impact of violence, why do we judge people and questions the ligitamacy of sacrifice. The movie has a slow and languid pace to let these questions develop but you're never beaten over the head by them. Most everything in 'A Perfect World' is understated. I like that in a movie but it can slow things down a bit. Also, as great as Eastwood is in the movie, I felt this was a role he has played so many times over the years that he could do it in his sleep. I wanted to see him tackle something a bit different. This DVD presentation features a very crisp image (widescreen only) and enveloping sound. The movie has been digitally remastered and you'll probably never see a better print of it. Bonus wise, you only get a few sketchy actors bios and a threatrical trailer. This allows the film to stand on it's own and allows the viewer to come to their own conclusions. A great presentation of a movie that I'm sure will continue to pop to the forefront of my mind in the unlikliest of situations for years to come.
Rating:
Summary: Subtexted in this great Eastwood Flick is...
Review: ....no one *really knows* what it takes to be a good parent even though we think we do. Costner's bad guy turns out to be the best parent figure in the movie, caring for and becoming a friend to the kid in the Casper outfit, (in spite of the lack of nutrition in mustard sammiches, truly it was the thought that counted) but that was a symptom of how bad his father was to him....for the record, I was all for serious damage done to that brutal black father, but Eastwood made like punishment from Butch(Costner) would be pathologically driven.... and then the questions arise. *How can* a pathologically evil man be a good parent or *can* a pathologiclly evil man be a good parent? In the end, the Buzz kid seems to have learned to love the man who kidnaps him, like he would a parent ....if you however did not want to think too deeply about the characters' raison d'etres, Eastwood serves up an old fashioned road chase movie in the Texas of Kennedy era 1962-63. A charming bad guy in stolen vehicles being chased down the dusty Texas roads by the bumbling good guys handcuffed to the system in my opinion has more entertainment value than half the stuff out there in the movies nowadays.
Rating:
Summary: One of Costner's better films
Review: ...possibly because he didn't direct it, this film is powerful and affecting, with a good cast choice and a poignant ending. However, it was let down in a few ways. Firstly, the apparent contradiction in the way that Costner treats the boy and how he is prepared to treat the family that take them in and show them kindness.
The main thing that made me cringe thoughout the movie was Eastwood's (?) apparently arbitrary decision to make the boy a Jehovah's Witness (note the spelling!). Perhaps this was for sensationalist purposes, but the intent to portray him as somehow deprived because of this showed a distinct lack of understanding of the religion. The biggest howler was when the boy steals the Halloween costume and tells Costner that "I'm going to go to hell for this." Anyone with even a passing knowledge of Jehovah's Witnesses will know that one of their fundamental beliefs is that hell does not exist. Okay, so they don't celebrate Christmas or Halloween, but then neither do Jews, Moslems or Hindus. Are all children of these religions deprived too? And who came up with the notion that they aren't allowed to go to fairs or ride rollercoasters? Instead of trying to promote understanding and clarity, this film just added to the general misconception most people have of this religion, as exemplified by Jay's comment that JW's aren't "a true religon. I believe that Christianity is the only true religion." This is a non sequitur, since JW's believe in Jesus Christ they are, by definition, a Christian religion. You can excuse his ignorance, but not the film's. They really should have done some research.
Rating: 
Summary: Extraordinary character study
Review: A Perfect World has been one of those curious movies relegated to the back bins of the video stores.Unlike its american cousins{the over the-top action genre} this movie is quiet, almost introspective{as introspective as cinema can be}. Costner plays an escaped excon{with a young boy in tow} Eastwood a grizzled Texas ranger.Nothing is as it seems. The boy is escaping from a abusive home, Eastwood is a man growing apart from the changing world. Costner's noble fallen angel is the best performance that he has ever given. Compared to his wooden WYATT EARP or his empty JFK,this is an exceptional leap,textured,nuanced. Perhaps it is Eastwoods direction. Laura Dern as a criminologist is [as always]excellent,thoughtthis movie belongs to the two leads. There is little"action" per se,, {the ending of the movie is apparent in the opening scene}though the dialogue is excellent and understated,as is the entire film. Next to UNFORGIVEN,this is the best film Easwood has done,and certainly, the most interesting.
Rating:
Summary: A very pleasant surprise.
Review: Although it isn't a 'perfect' film, "A Perfect World" caught me by surprise. A story of an escape convict (Costner), who, along with a rather seamy partner in the escape, happen upon a household of a Johova Witness family (mother and son), where the convicts decide to abduct the boy. This story soon changes from that of convicts on the run and being chased by Clint Eastwood, to a story of discovery for a youngster sheltered by his religious upbringing. The film works best when it concentrates on the boy and Costner, and I felt the film wavered a little when it centered on the chase. All-in-all, a rewarding film with a fine performance by Costner. Between 1 and 10, "A Perfect World" gets a marginal 7.
Rating:
Summary: Eastwood journeys deeper into the heart of the American male
Review: Continuing his exploration of what makes a man good, bad -- just plain human-- is what this film delves into, even more deeply than in the stunning "Unforgiven" (to his credit, Eastwood never pretends, as some male writers and directors do, that he understands women; instead, he admits that we are mysteries to him, and concentrates his energies on what he does understand: American men). Refusing to subscribe to typical American cinematic over-simplifications of "good vs. evil," Clint Eastwood delivers films that make you realize very quickly that there is no room for such absolutes when dealing with human truths. This thesis, which he has been pursuing for some time now, perhaps starting with "Tightrope" where the line between good and evil blurs to invisibility, he has, with "A Perfect World," given us a translation of John Lee Hancock's brilliant screenplay that is both beautiful and almost too painful to bear. Noted by critics at the time of its relase, but completley ignored by audiences who, it seems, found Kevin Costner as an escaped convict just too unpalatable, this film takes us on a complex journey deep into the souls of two tortured men, Costner's "Butch Haynes" and Eastwood's "Red," the Texas Ranger who is charged with running the escaped Haynes down. The past and its consequences are a continual theme in all of Eastwood's important works, and in this film, the ironies are neck-deep and take time and patience from the viewer to unravel. Even the decision by Red to commandeer the vehicle the Governer intends to ride in the next day when President Kennedy will be in Dallas (this is 1963) brings up the question: would the Governer have been shot had he been in this vehicle instead of in the President's car? This is one subtle example of how decision and consequence are continously explored in this most thought-provoking of films. Kevin Costner gave probably the best performance of his life, cast against type as a complex man who cannot be called either bad or good, merely profoundly human, whose life has followed a course laid by poverty, homelessness, a suicide mother and a felonious father, a bit of high spirits, and high intelligence with nowhere to go, but most importantly, the Texas penal system as it was managed in the 60's. Haynes' moral center, despite his acts, never wavers, and it is that moral center that propels events which finally spiral out of his control and into tragedy. But we see, clearly, that even a so-called "bad" man can be good enough to inspire genuine, deep love that, in the end, redeems both him and the person whose initial action started the long chain of events that ends with the 36 hours over which this film takes place (we discover who this is along the way, and I don't want to lessen the impact of any discoveries). Another reviewer here implied that it was Eastwood who is responsible for Costner's excellence in this film, but having seen so many interviews with his actors, it is generally understood that Eastwood casts his actors, then leaves them alone to find the character and reveal him without a great deal of interference, so it would seem that the credit is, indeed, Costner's. Sadly, he never again worked against type, perhaps because of this film's commercial failure, but this performance will always stand as testament to what he can do, and never is that performance better than in the house where Cajun music on the Victrola and senseless violence against a boy much of an age as Butch himself was when violence entered his life, combine to send him into a sort of fugue state of memory, pain, longing, rage, and ultimately, the loss of control that brings things to a terrible end. The boy, Philip, with whom he bonds (played beautifully by the transparent T.J. Lowther) also gives us his heart laid bare, and the rapport between the two of them is completely believable. We understand the child's repeated choices to stay with Butch, and the reasons go far beyond the superficial need for a father (his is gone), and into the realm of love. It is from Haynes that he learns the lesson that exacts the price of Haynes' escape, but then it is his love for Haynes that makes it bearable, and even right, for both of them, as in the end, he becomes the protector--the man--whose job it is to help a loved-one who can no longer help himself. When a film's characters are torn apart by the end of a film, its viewers should be, too, and we definitely are. It is a difficult, heart-breaking journey that Clint Eastwood insists we take with him, but taking it brings us to the point where we should start each day: from scratch. Red's last line is, "I don't know a da*n thing anymore," and that is exactly the point and the purpose of this story. We should never, ever think we have all the answers; to do so is fatal, as Red learns. Every day we should be willing to examine our beliefs and look back, with honesty, at what we've done, and look forward to what we're about to do with eyes wide open and with some sort of awareness of potential damage, and know, always, that there is no good "us," no bad "them," but that we're all only human beings, deeply flawed and yet filled with the capacity for love and connection, each of us doing the best we can.
Rating:
Summary: Eastwood journeys deeper into the heart of the American male
Review: Continuing his exploration of what makes a man good, bad -- just plain human-- is what this film delves into, even more deeply than in the stunning "Unforgiven" (to his credit, Eastwood never pretends, as some male writers and directors do, that he understands women; instead, he admits that we are mysteries to him, and concentrates his energies on what he does understand: American men). Refusing to subscribe to typical American cinematic over-simplifications of "good vs. evil," Clint Eastwood delivers films that make you realize very quickly that there is no room for such absolutes when dealing with human truths. This thesis, which he has been pursuing for some time now, perhaps starting with "Tightrope" where the line between good and evil blurs to invisibility, he has, with "A Perfect World," given us a translation of John Lee Hancock's brilliant screenplay that is both beautiful and almost too painful to bear. Noted by critics at the time of its relase, but completley ignored by audiences who, it seems, found Kevin Costner as an escaped convict just too unpalatable, this film takes us on a complex journey deep into the souls of two tortured men, Costner's "Butch Haynes" and Eastwood's "Red," the Texas Ranger who is charged with running the escaped Haynes down. The past and its consequences are a continual theme in all of Eastwood's important works, and in this film, the ironies are neck-deep and take time and patience from the viewer to unravel. Even the decision by Red to commandeer the vehicle the Governer intends to ride in the next day when President Kennedy will be in Dallas (this is 1963) brings up the question: would the Governer have been shot had he been in this vehicle instead of in the President's car? This is one subtle example of how decision and consequence are continously explored in this most thought-provoking of films. Kevin Costner gave probably the best performance of his life, cast against type as a complex man who cannot be called either bad or good, merely profoundly human, whose life has followed a course laid by poverty, homelessness, a suicide mother and a felonious father, a bit of high spirits, and high intelligence with nowhere to go, but most importantly, the Texas penal system as it was managed in the 60's. Haynes' moral center, despite his acts, never wavers, and it is that moral center that propels events which finally spiral out of his control and into tragedy. But we see, clearly, that even a so-called "bad" man can be good enough to inspire genuine, deep love that, in the end, redeems both him and the person whose initial action started the long chain of events that ends with the 36 hours over which this film takes place (we discover who this is along the way, and I don't want to lessen the impact of any discoveries). Another reviewer here implied that it was Eastwood who is responsible for Costner's excellence in this film, but having seen so many interviews with his actors, it is generally understood that Eastwood casts his actors, then leaves them alone to find the character and reveal him without a great deal of interference, so it would seem that the credit is, indeed, Costner's. Sadly, he never again worked against type, perhaps because of this film's commercial failure, but this performance will always stand as testament to what he can do, and never is that performance better than in the house where Cajun music on the Victrola and senseless violence against a boy much of an age as Butch himself was when violence entered his life, combine to send him into a sort of fugue state of memory, pain, longing, rage, and ultimately, the loss of control that brings things to a terrible end. The boy, Philip, with whom he bonds (played beautifully by the transparent T.J. Lowther) also gives us his heart laid bare, and the rapport between the two of them is completely believable. We understand the child's repeated choices to stay with Butch, and the reasons go far beyond the superficial need for a father (his is gone), and into the realm of love. It is from Haynes that he learns the lesson that exacts the price of Haynes' escape, but then it is his love for Haynes that makes it bearable, and even right, for both of them, as in the end, he becomes the protector--the man--whose job it is to help a loved-one who can no longer help himself. When a film's characters are torn apart by the end of a film, its viewers should be, too, and we definitely are. It is a difficult, heart-breaking journey that Clint Eastwood insists we take with him, but taking it brings us to the point where we should start each day: from scratch. Red's last line is, "I don't know a da*n thing anymore," and that is exactly the point and the purpose of this story. We should never, ever think we have all the answers; to do so is fatal, as Red learns. Every day we should be willing to examine our beliefs and look back, with honesty, at what we've done, and look forward to what we're about to do with eyes wide open and with some sort of awareness of potential damage, and know, always, that there is no good "us," no bad "them," but that we're all only human beings, deeply flawed and yet filled with the capacity for love and connection, each of us doing the best we can.
Rating:
Summary: Mustard and Gum-sticks
Review: Deputy, "In a perfect world, ma'am, we could surround the area and he would come out with his hands up." Laura Dern, "In a perfect world, people like him wouldn't exist at all." These are two lines from the film a perfect world, one of the best movies ever made. After I watched it the first time I sat nearly to tears through the credits, with my mouth agape. I know movies like that don't seem to be the greatest, but this one works. I love good movies. The kind that make absolute sense and leave a mark on your heart. The ending is so shocking, and unexpected that it totally caught me off guard. That is a big complement, because nowadays you can pretty much guess the way a movie is going. Butch (Kostner) escapes from prison with an absolute piece of slime for a partner. They try to steal a car and get some food from a resident, but instead end up with a hostage named phillip, a young boy without a father that has been sheltered his entire life from anything exciting. After a series of events the slime bucket partner is out of the picture (a scene that stands on its own as just plain deserved), and soon it is just Butch and Phillip. The boy tugs on butch's heart and becomes Phillip's father figure. Eastwood is the sherrif responsible for bringing in Butch. The story between them run's far back into the years, and Eastwood blames himself for Butch's life. Laura Dern, excellent in whatever she does, stays beside the reluctant Eastwood in the pursuit. She is in a time where woman are just breaking through into the work force, let alone making an influence. She is sharp as a tack, and knows the tragic history behind Butch. I try to find an answer in every film I watch and review. The question is, "in a perfect world, would people like butch exhist?" And in reply I say, most definately, but the tragedy that creates men with hatred, would be nowhere in sight. This is the second greatest movie of all time (next to awakenings). I hope you will experience it.
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