Linbeymusol Wonderful character development!

Executscan Expected more

Cleveronix A different way of telling a story

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Wizard-8 New York filmmaker Larry Cohen has certainly made some memorable movies in his career, but "Perfect Strangers" has to be considered a considerable lesser effort by him. It gets off to a promising start, setting up the situation and characters in just a few minutes. Elsewhere in the movie, there are some moments of interesting direction that give the movie an almost documentary-like feeling. However, the majority of the movie is a letdown. After the intriguing beginning, the movie abruptly slows down to a snail-like pace where little to nothing of significance is happening. The relationship between the Brad Rijn and Anne Carlisle is also weak, with too little time showing the growing relationship between the two. (It also doesn't help that each character is each off-screen for a significant amount of time.) The low budget also sinks the movie, with poor cinematography and threadbare production values, including a very dated and cheesy musical score. I got the sense that Cohen's heart really wasn't in this project, despite being the writer as well as director. Skip it.

lost-in-limbo After a Mafia hit man kills his target in a back alley, he looks up to notice a toddler has seen what he has done. When the mother comes out and notices the body, she goes about things as if her son didn't see anything. Under pressure by the Mafia to do something about it, he befriends the mother of the child to see how much the kid can put together of what he saw. The pressure starts to build as the Mafia is constantly on his back to rid the kid, while the boy's estrange father is trying his best to get back into the child and mother's life and the police are getting suspicious.Style and mood features strongly in director/writer Larry Cohen's understated low-budget noir-like thriller. It's an atmospheric nail-biter in the old tradition of showing little in the way of explosive currents, but rather developing on the tight and emotionally realistic situation captured in the authentically haunting and forcible New York locations. Cohen's serviceable direction clearly cooks up an eerie presence from its shadowy urban backdrop that works favourably with Dwight Dixon's lingering smoky jazz cues throughout the stirring score and Paul Glickman's prominently moody cinematography complements it all nicely. The editing is swiftly concise. Even with its cheap origins, it has a solid professional ambiance that goes onto make it one highly effective presentation. Cohen's cynically terse script swoops right into the social commentary, as on today's menu is a feminist stance, children caught between feuding parents and the exploitation of their naïve innocence. There are few offbeat touches, but for most part the premise is played straight, as it did lack the sharp-laced wit we've come to expect. This dry touch only heightened the taut nature, which leads to a potent conclusion. Sometimes holes can show up and at times the pacing can succumb to stodgy handling, but these moments are a minor fracture to the overall feel. Anne Carlisle's soothing performance is that of elegance, but also burning conviction as the mother. In a disquieting and subtle turn, Brad Rijn perfectly portrays his laconic character with a lurking menace that might drop his guard. Mathew Stockley as the child definitely passes the muster. In short, but extremely quirky parts are Ann Magnuson (as a feminist man hater) and Stephen Lack (stuck up police Lieutenant).Re-watching this interesting and sorely overlooked Cohen entry, goes on to prove what a versatile filmmaker he is.

Pepper Anne Writer/Director Larry Cohen offers an interesting thriller with 'Perfect Strangers,' which would have been more logical had it not been premised around such a stupid plot. That is, a young mafioso who's stabbing of another man is witnessed by a two year-old from behind a fence. At first, certain that the boy is too young to act as a reasonable witness for the cops (and I doubt any court would let a kid that young testify anyways...and doing so would give a defense attorney good grounds for appeal), but later doubts the boy's ability to identify him, and gets nervous. What is even dumber is, that his crime associates, want to kill the kid because they're worried he may be a viable key witness. In they end, they turned out to be dumber than the guy who actually committed the crime.To get close to the kid, I suppose as a way of testing what the kid knows and can tell, he hooks up with the boy's mother who is also a stupid character. Although it may be harsh to criticize her for getting cozy so quickly with some guy she met on the street, she always ignores many of the warning signs that this is the guy that stabbed the man just behind their backyard fence. She is aware that a crime occurred, and rushed her boy inside when she saw that he was standing in the backyard by the fence staring at the dead man. Inconsistent in attitude, this sense of emergency never seems to grip her much or make her changes her ways throughout the rest of the film. And the only one who might actually be able to get her to wake up and realize what is going on (too late) is her estranged husband who is suspicious of the new beau and warns her about him for the sake of her and the kid.The story was at least entertaining enough, offering at least some mystery where the plot is based along too many logical flaws--namely, the stupidity of the main characters. But it might nonetheless be worth checking out. Unfortunately, Cohen doesn't offer some of the good-natured quick wit or brief, black comedy he does in his later films. But what the heck, it's a low-budget production. Look for Ann Manguson (of 'Making Mr. Right') in a brief role as the main woman's feminist sidekick, Malda.

miralgpa This low-budget crime drama deserves a second look (unfortunately it is currently unavailable in video). It is a good example of modern film noir, with its gritty realism, excellent New York location photography, and moody score.The story involves, Johnny, a hitman (played by Brad Rijn), whose contract hit on a gangland rival is witnessed by a three year old boy, playing in his backyard. Johnny's initial motivation to "eliminate" the one witness to the crime (under orders of his mob boss) becomes conflicted by his growing romantic involvement with the boy's mother, Sally, (played by Anne Carlisle). Occasional semicomic relief is provided by the incomparable Ann Magnuson, in the role of a male-hating ultra-feminist and best friend of Sally.The story is by no means perfect and the ending somewhat disappointing. But its appeal lies in its offbeat look and quirky directing and acting. This is a film with definite cult potential.