The Perfection

The most obvious influence that comes to mind when watching The Perfection is Brian De Palma and the several notoriously shocking thrillers that helped him become a household name in the early 80s. There are clear shades of Dressed to Kill’s erotic energy and Blow Out’s frenzied paranoia running throughout this Richard Shephard (previously known for his TV work on Girls + Ugly Betty) directed, Netflix released thriller. Coupled with several uses of De Palma’s signature split diopter shot, it becomes pretty apparent that Shephard likes to wear his influences firmly on his sleeve.

The pulpy shock and awe nature of many of the film’s sequences, including an early scene involving bugs and a meat cleaver (you get the picture), also musters any number of comparisons ranging from Funny Games to Eden Lake, particularly as the story begins to escalate and become a very different beast. However, The Perfection is a film that is better off watched with little prior knowledge of the plot, as much of its impact comes from its unpredictable twists and turns.

To give just a bare bones description of the opening scenes, Charlotte (Allison Williams, best known for her chilling performance in Get Out) was once a highly talented cello player who quit at a young age to care for her seriously ill mother. The film opens with her mother’s death, leaving Charlotte free to renew her contact with the prestigious Bachoff music school, from which she had to leave 10 years prior.

She travels to Shanghai to assist with their new selection process, where she meets, and subsequently falls for, Elizabeth Wells, a now highly successful member of the school. Together they set off to explore the country by bus but Elizabeth soon falls ill and they are kicked off the bus they were travelling on, left stranded and alone.

From there, Shephard and cast fully embrace the power of surprise, throwing us repeatedly off the scent as the film weaves between thriller and horror. Considering Netflix’s often spotty output regarding original films (for recent evidence see Rim of the World, The Highwaymen, and Triple Frontier), it was a very pleasant surprise to find that The Perfection was a far smarter film than first impressions led many to believe.

While some of the cinematography falls flat and the final minutes feel a little too preposterous (coupled with a bizarrely out of place soundtrack choice), Shephard clearly understands what makes for a successful thriller and succeeds at keeping everything ticking along at a rapid pace.

Alison Williams and Logan Browning as Charlotte and Elizabeth power each scene excellently, with Williams proving her versatility outside of playing a crazy racist girlfriend. Browning too, who previously starred in Netflix’s Dear White People, impresses with a commanding performance, often outshining her co-star. Steven Weber is also a treat as Anton, the head of the Bachoff school, chewing the scenery to marvellous effect every time he is on screen.

Despite its flaws, mostly surrounding the ending, The Perfection excels when it's throwing us constantly into the darkness and consistently denying us any attempt at predicting where the plot will turn next. Even though it is produced by a monolithic internet streaming giant, it feels deliciously reckless and free from any sort of studio control, making for an increasingly pulpy but gripping trip that, while touching on some deeply troubling themes and sometimes overstretching itself, manages never to overstay its welcome and leave us with some suitably WTF moments.