Perfect Strangers Blu-ray Movie

Rating summary

Movie		3.0
Video		4.0
Audio		4.0
Extras		3.0
Overall		4.0

Perfect Strangers Blu-ray Movie Review

Reviewed by Brian Orndorf August 8, 2020

Attempting to pull off a monster movie with 1982’s “Q: The Winged Serpent,” writer/director Larry Cohen clearly didn’t want to mount another horror event with a large cast, returning to the basics of low-budget filmmaking with 1984’s “Perfect Strangers” (titled “Blind Alley” on the disc). Instead of skyscrapers and creatures, Cohen’s follow-up deals with apartments and New York City street tours, imagining a scrappy tale of murder and attraction that occasionally switches over to thriller mode. Cohen’s after something more human with the endeavor, and his interest in characterization is laudable, aiming to subvert expectations and dig into troubled people. It’s the lack of cash that ultimately holds the picture back, with the scrappy, urban look of the feature diminishing any potential intimacy, keeping the effort cold to the touch. The blunt edges of Cohen’s screenwriting also don’t help the cause, but for those willing to work a little harder to find meaningfulness here, “Perfect Strangers” has some mildly interesting ideas on love and self-preservation.

Johnny (Brad Rijn) is a low-level mob hitman who’s good at his job, but his latest assignment goes awry when he murders his target in a New York City alley, with a three-year-old boy named Matthew (Matthew Stockley) witnessing the horror through a fence. Johnny doesn’t believe this to be a problem, but his criminal superiors disagree, forcing the goon to figure out a way to kill Matthew before he identifies the murderer. Sniffing around for a chance to finish the job, Johnny accidentally befriends Matthew’s mother, Sally (Anne Carlisle), an artist struggling with her ex-husband, Fred (John Woehrle), who wants to remain in her life. Sally is attracted to Johnny, with the pair embarking on a sexual relationship, complicating the assassin’s plans to protect himself from prosecution, putting him in a tight spot as he warms to Matthew and feels pressure from his bosses to complete the job.

There’s a raw NYC energy to “Perfect Strangers” that’s immensely appealing. Cohen doesn’t just set the story here, he uses the city, treating it as a supporting character and ideal place for confrontations, feeding off inherent hostility. There’s a fantastic moment early in the picture where Fred decides to kidnap Matthew to settle his custody battle with Anne, tearing off into the thick of pedestrians on the sidewalk, only to have his ex-wife catch up to him and emotionally demand the return of her son. We see crowds start to circle the actors as Cohen shoots the scene from apartment windows, blurring the line between film and reality as it begins to look as though onlookers are about to advance on Fred, ready to defend Anne. “Perfect Strangers” also works around the art scene of the mid-1980s, visits an impassioned women’s rights march (Ann Magnuson portrays Anne’s radical feminist pal), and offers Johnny as a graffiti artist, painting crude shadow images around town to emphasize his emptiness.

The sense of the city is more compelling than the plot of “Perfect Strangers,” with Cohen cutting corners to turn Johnny and Anne into a couple, transforming his stalking into seduction. Child endangerment is also a big part of the story, and the helmer tends to revel in Matthew’s possible death, also open to slamming the child actor around to get reactions, which isn’t pleasant to watch. Johnny’s arc of hitman and fatherhood has potential, but Cohen isn’t a patient man, rushing emotional beats to get to chase sequences, with the goon pursued by the mob, who want the whole problem wiped out before things grow worse. “Perfect Strangers” is better with Fred, gradually revealing his frustrations with Anne. Cohen is sympathetic to the guy, which is a surprise, but the character is no saint, happy to urinate in Johnny’s car while he’s inside with Anne. Still, little efforts of understanding are appreciated.

Perfect Strangers Blu-ray Movie, Video Quality 

Listed as "Newly scanned and restored in 2K from its 35mm interpositive," "Perfect Strangers" offers real softness during the AVC encoded image (1.85:1 aspect ratio) presentation. Detail isn't smoothed away, but there's pronounced bloominess for most of the viewing experience, save for a few sharper shots. Skin surfaces and costuming retain some texture, but there's inherent haziness for the low-budget endeavor, with Cohen not interested in fine-tuning cinematographic efforts. Colors are compelling, doing well with NYC street life, which offers bright red and yellow signage, and a colder palette for concrete jungle shots registers as intended. Skintones are natural, as is greenery. Delineation is satisfactory, Grain is thick but film-like. Source is in decent condition, with some mild speckling, scratches, and judder.

Perfect Strangers Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA sound mix emphasizes dialogue exchanges, finding dramatic efforts easy to understand, even when challenged by the background sounds of the city. Scoring cues are a little overbearing at times, but this is an inherent issue, finding Cohen trying to remove any possible silence. Soundtrack cuts are louder, bringing some synth force to the track. Atmospherics are preserved, offering crowd bustle and room tone.

Perfect Strangers Blu-ray Movie, Special Features and Extras 

• "A True Artist" (7:46, HD) is a video conference interview with actress Anne Carlisle, who begins with a discussion of her career at the time of "Perfect Strangers," just finishing her work on "Liquid Sky." Initially devoted to the arts and painting, Carlisle began her acting career as the subject of camera test for an acting class, soon realizing she could handle screen work, helped along by casting director Bob Brady. Carlisle provides an assessment of director Larry Cohen's professional manner and shares her own character work, filling in as much of a backstory as possible during the hectic shoot for "Perfect Strangers." The interviewee recounts working with the young Matthew Stockley, fearing for his mental health, and details the low-budget filmmaking experience, where there's never a chance to breathe. Carlisle offers her thoughts on her decision to abandon acting, returning to art and therapy, and she provides a plug for her personal website.

• "Shadow in the City" (9:13, HD) is an archival interview with Larry Cohen, who shares his preference for simple projects, embarking on "Perfect Strangers" to get away from any sort of special effects work. Financing arrived for two pictures, with Cohen shooting "Perfect Strangers" and "Special Effects" back-to-back. Fondness for New York City locations is shared, examining the strange energy of the streets, with one confrontation scene managing to attract a real crowd, forcing Cohen to break up the moment. Casting is celebrated, and Cohen goes into the process of directing a child. He closes with thoughts on working alone, not enjoying the collaborative process, preferring to call the shots without interference or expectations.

• Still Gallery (:38) collects poster art and publicity shots.

• A Theatrical Trailer has not been included on this release.

Perfect Strangers Blu-ray Movie, Overall Score and Recommendation 

"Perfect Strangers" is often era-specific, with "E.T." references and Johnny's cover story for Anne, where lies about being employed as a cable T.V. pirate. This stuff is amusing, but the film isn't a joyful viewing experience, and not especially exciting either. It's a deeply flawed and underwritten offering from Cohen, who doesn't take the time to hammer out his ideas on guardianship and love. There's potential here worth exploring, and a real NYC presence to savor, but "Perfect Strangers" doesn't connect as a drama, offer fleeting glimpses of real creative risk while the helmer madly scrambles to put a movie together.