Larry Cohen IS a skilled director, having brought cult classics like The Stuff and God Told Me To. I have no idea what happened to that passion in 1984's Perfect Strangers, but the entire movie feels like it's on the verge of a flatline.
Despite having a good cast and great cinematography, all players seem to sleepwalk their way through deadpan deliveries and tedious dialogue. Anne Carlisle, who sizzled in Liquid Sky, seems utterly detached here as the lead. Many exchanges feel like early rehearsals, with several actors blandly speaking through their lines.
Then there's the plot, which is just too silly to suspend disbelief. Our lead's 3-year-old boy is seen witnessing a murder by a hitman. At the concern of his bosses, he's forced to befriend his mother and told to kill him. I'm pretty sure no court would really entertain a toddler's accusations.
The details of how these people come to know and interact with each other is even more absurd. The hit man brazenly follows this woman around for days. Even though she's noticed this, she's flattered by it and immediately tries to get a date. Shortly afterwards, he's handling her kid and sleeping at her house. Pretty bold for a single mom in New York City.
Very few scenes actually progress the plot in a meaningful way, or even build character relationships. The aforementioned dispassion only makes it worse. What should be climatic situations feel underwhelming, poorly acted, and just plain cheesy. Add in the dated (even for its time) made-for-TV style soundtrack, and it's just a real challenge to get through.
That's not to say there isn't anything redeeming about Perfect Strangers. Larry Cohen is good visual director, and seeing classic, gritty NYC is a real treat. We also get an almost documentary-like glimpse into feminist fringe groups of the day, which is not something I've seen a lot of in 80s movies. Despite all the potential this film could have had with the talent involved, it really just feels like everybody on set was just ready for it to be done; and I was too.
Despite having a good cast and great cinematography, all players seem to sleepwalk their way through deadpan deliveries and tedious dialogue. Anne Carlisle, who sizzled in Liquid Sky, seems utterly detached here as the lead. Many exchanges feel like early rehearsals, with several actors blandly speaking through their lines.
Then there's the plot, which is just too silly to suspend disbelief. Our lead's 3-year-old boy is seen witnessing a murder by a hitman. At the concern of his bosses, he's forced to befriend his mother and told to kill him. I'm pretty sure no court would really entertain a toddler's accusations.
The details of how these people come to know and interact with each other is even more absurd. The hit man brazenly follows this woman around for days. Even though she's noticed this, she's flattered by it and immediately tries to get a date. Shortly afterwards, he's handling her kid and sleeping at her house. Pretty bold for a single mom in New York City.
Very few scenes actually progress the plot in a meaningful way, or even build character relationships. The aforementioned dispassion only makes it worse. What should be climatic situations feel underwhelming, poorly acted, and just plain cheesy. Add in the dated (even for its time) made-for-TV style soundtrack, and it's just a real challenge to get through.
That's not to say there isn't anything redeeming about Perfect Strangers. Larry Cohen is good visual director, and seeing classic, gritty NYC is a real treat. We also get an almost documentary-like glimpse into feminist fringe groups of the day, which is not something I've seen a lot of in 80s movies. Despite all the potential this film could have had with the talent involved, it really just feels like everybody on set was just ready for it to be done; and I was too.