Perfection, TheReviewed By Rob Gonsalves
Posted 07/11/19 17:47:23
Netflix’s new thriller 'The Perfection' (with its impossible-to-remember title) relies on the type of screaming twists and turns on a dime that can stymie a reviewer. How can you talk about a movie like this to people who may not have seen it without nuking its surprises? You can’t, so I am obliged to sketch and suggest.The Perfection is about two cello prodigies, Charlotte (Allison Williams) and Lizzie (Logan Browning). The menacing artsiness and female trauma that inform the movie’s tone put it in the same small folder as Suspiria (either version) and Black Swan. It seems to switch not just gears but genres, several times. I would recommend going into it completely cold, and not even watching the trailer, which prankishly sets a viewer up to expect a vastly different film than it turns out to be.
What you get for your trouble is a handsomely photographed (by Vanja Černjul, who also shot Crazy Rich Asians), feverishly written (by director Richard Shepard with Eric Charmelo and Nicole Snyder) thriller that gets you hating one character, then another, then someone else, until finally balance is bloodily, poetically, and somewhat ludicrously restored. The Perfection is therefore not the nicest movie or experience. It exists to pull the rug out from under you, repeatedly, until you mistrust the rug and the floor under it. Is it pleasurable? Here and there. It’s more gripping than entertaining; it squeezes us, it pulls on the short hairs of our temples. It establishes and maintains control — bullying control. Like most thrillers great and poor, it essentially takes a rapist’s attitude toward the audience. It gets you alone and has its way with you.
The redeeming factor here is that, ultimately, The Perfection shakes out as a #MeToo revenge thriller. Its brutality and manipulations come to seem necessary in order to convey the wounding tone required to get us, in the end, on the side of victims who at first seem like aggressors. We may feel betrayed at certain points, but so have its characters. The movie also ladles equal amounts of beauty and rancid ugliness into its hermetic aesthetic, breaking away from that only during a cold roadside scene that packs the most painful violence, which comes to be seen as an act of mercy. The events leading up to the scene — like much else in the movie, and indeed in most thrillers — won’t stand up to harsh scrutiny. The plot depends on a hostile bus driver behaving as a character secretly wants him to. I imagine there’s a deleted scene involving the close study of bus routes so as to guarantee winding up in a desolate area.
The Perfection also contains the following: a tender same-sex lovemaking scene; a few lovely if stressful music performances; a performance by Steven Weber that confirms my longstanding suspicion that he’s aging into William Fichtner; a laughable flashback (or rewind, really) that explains how a cooking instrument comes into a character’s possession (almost as funny as the preceding scene in which the character just randomly seems to produce said instrument — the movie is firmly in the tradition of thrillers that can’t possibly take themselves seriously and don’t want us to, either); a bit that had me thinking we were in Romeo Is Bleeding territory and on the exit into Long Jeanne Silver turf; a quaint confidence in various medications to have exactly the effect on someone that one hopes they will have.
There’s more, but I grow tired of avoiding writing about the story. I can finish by praising the intense performances of Williams and Browning, or the way a cello performance that must proceed without error elicits more sympathetic wincing than does the sometimes graphic violence, or the film’s nearly Cronenbergian reliance on body horror and disfigurement. The Perfection is strongly made, scene for scene, and it ends on a note of serene unity of soul through music in the face of ghastly oppression. But I can’t say I didn’t breathe a sigh of relief when it was done squeezing my soft bits. I won’t claim it doesn’t have the right to play with sensitive themes and elements to get its effects; I think, ultimately, it earns that right and shows itself to be compassionate. You do have to navigate a whole lot of bear traps to get there, though, and you may not agree that it’s worth the journey, with all its hurt and vomit and maggoty visions of sickness.I can raise a glass to the skill of all involved but I’m in no hurry to feel all those things, see all those things, again any time soon.
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