Upon cursory examination, A Perfect World may seem like a buddy movie crossed with a road picture, but the film's surprising emotional depth transcends that which is normally found in either genre. In fact, what starts out like a good old Clint Eastwood cops-and-robbers tale turns into something completely unexpected.

　　 Halloween, 1963 is just another day for eight-year old Phillip Perry (T. J. Lowther), since his mother, a devout Jehovah's Witness, refuses to let him go trick-or-treating. In fact, that's not the only thing on the boy's "forbidden" list. He can't celebrate Christmas, has never eaten cotton candy, and hasn't ridden a roller coaster. For Phillip, life is dull until Butch Haynes (Kevin Costner) bursts into his kitchen. Recently escaped from prison, Butch is in need of a hostage, and Phillip happens to be in the wrong place at the wrong time. Strangely, the boy instinctively trusts Butch, and accompanies him meekly. The ride starts out a little bumpy, with Butch's sadistic fellow escapee attempting to molest the hostage -- a situation that Butch corrects. Then, when it's only the two of them, Butch and Philip head across Texas with Police chief Red Garnett (Clint Eastwood) and his band of Rangers in pursuit. （）

　　 Those who understand the psychology of hostage situations are aware of the bond that develops between captive and captor. The case presented in A Perfect World, however, is far from normal, even for these circumstances. The connection between Kevin Costner's Butch and T. J. Lowther's Phillip isn't something nebulous, but a father-and-son-like relationship that profoundly affects them both. Once they're together, neither of them can be the same -- not spiritually, physically, or morally.

　　 This relationship is the centerpiece of A Perfect World, and director Clint Eastwood allows it to play out at the leisurely pace necessary for it to achieve its ultimate depth and power. There are a few brief action scenes punctuating the drama, but this is not a movie for the viewer who craves car chases and shootouts.

　　 On the surface, the scenes featuring Eastwood appear largely superfluous, and, while they aren't strictly necessary to the plot, they nevertheless serve an important purposeA Perfect World wouldn't be best served by presenting the Butch/Phillip sequences without interruption. The pacing would be too slow; the tone too somber. The inclusion of a storyline focusing on Butch's pursuers allows for a few more characters, an opportunity or two of comic relief, and a subplot that ties a few things together a little too neatly.

　　 Like his star, Kevin Costner, Clint Eastwood is a better director than actor. In A Perfect World, he again wears both hats, although his on-screen appearances are limited. Eastwood the actor has two modes -- the cynical tough guy and the sensitive tough guy, both of which are present here (the former more often than the latter). He's in fine form, but it's his behind-the- scenes work that really deserves the credit. There are moments when A Perfect World manipulates, but they are masterfully subtle.

　　 Kevin Costner is an unusual actor -- his performances are as inconstant as his choices of films. For every Dances with Wolves, there's a The Bodyguard. His job in A Perfect World, however, is among his best work. Costner develops a credible character who comes across as believable and sympathetic despite his obvious criminal nature. The portrayal eclipses the portrayer, which is always a good sign.

　　 A Perfect World is evidence that Hollywood is still capable of producing the kinds of moving, intelligent movies that have increasingly become the province of independent film makers. The characters here have depth and breadth, and the themes and relationships are as complex as in any of the year's best offerings. Clint Eastwood won an Oscar for directing Unforgiven, and A Perfect World shows that the wellspring of talent is still bubbling energetically. May it never run dry.