A Perfect World (1993)
Directed by Clint Eastwood
A kidnapped boy strikes up a friendship with his captor: an escaped convict on the run from the law, headed by an honorable U.S. Marshal.
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After much ado we eventually get on the road, and instead of following typical superhero formulas Logan bites off massive chunks from other movies like Children Of Men, Firestarter, True Grit, The Professional, Terminator 2, Alice In The Cities, The Outlaw Josey Wales, A Perfect World and hell, pretty much the entire cinema of Clint Eastwood until the last-half hour when it becomes a straight-up remake of Mad Max Beyond Thunderdome.
Mangold seems to have learned from past mistakes; Logan is lean and angry from beginning to end, finding time halfway through for an A Perfect World interlude with a subsistence black farming family that gives the dying Professor X (Patrick Stewart) his last "truly perfect" night.
To its credit, and not unlike Eastwood's oddest and riskiest film to date, A Perfect World, Mystic River doesn't allow vengeance or catharsis for this outrage.
Not only is the film the director’s best work since his undervalued A Perfect World, it’s also one of the most spiritually profound works to come out of the Hollywood studio system in quite some time.
The picture is a rhyme of Eastwood's A Perfect World , complete with spiralling shots of the sky through branches--the evocation of a Naturalism at war with any illusion of moral spirituality or humanism, with its heroes criminals shaded equally by the instinct to violence and the instinct to nurture.
The basic themes of "Mystic River" are ones that Eastwood has explored before in films like "Unforgiven" and "A Perfect World" but this time around, he brings no new thoughts or insights to the table.
But then look at a film like A Perfect World where Eastwood allowed Kevin Costner's fatherly instincts to guide a sweetly dark film about losing innocence in pre-Kennedy assassination Texas.
At this point, the film could just as easily go in the direction of A Perfect World , Clint Eastwood’s 1993 crime drama about two convicts who take the son of a Jehovah’s Witness on the road with them as a hostage.
The narrative alternation between outlaw and pursuing Ranger mirrors that of Clint Eastwood’s A Perfect World (though in contrast to that unbalanced film, here both halves are equally well-told).
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Cuando hablo, entonces, de la figura del padre accidental, me refiero a cintas com Kramer vs Kramer (1979), A Perfect World (1993), Big Daddy (1999), Gran Torino (2008), Saint Vincent (2014) y un larguísimo etcétera que se puede extender, incluso, hasta la saga original de Star Wars.
The film is about as old-fashioned as it gets: It was reportedly first written in 1993, and over the years has had a number of heavy-hitter auteurs attached to it, including Steven Spielberg and Clint Eastwood (the latter of whom had collaborated at the time with screenwriter, now director, John Lee Hancock on the elegiac manhunt masterpiece A Perfect World ).
Once floated as a project for Steven Spielberg or Clint Eastwood (who in 1993 had just filmed Hancock’s script for “A Perfect World”), the movie has now been directed by Hancock himself, who brings his sturdy, unfussy craftsmanship to bear on his own material.
He made a no-kidding American masterpiece with A Perfect World.
Like his masterful “A Perfect World,” “Million Dollar Baby” and other films, “Sully” highlights the director’s distrust of technology, instead championing training, knowledge and instinct.