The Perfection Netflix  Review: A delirious and highly stylized symphony
The Perfection Netflix
From the trailer itself, it was evident that ‘The Perfection’ was going to be a bloodcurdling thriller, soaked in its stylistic choices. Besides, the tense cello strings were synchronized with the goriness, which promised enough tension to keep us hooked. Although there was hardly any sign of the overtly ridiculous twists from the first look, the film sets to become more than just an average fare for the adrenaline rush. With much of its stylistic precision, the director Richard Shepard brings about an unusual tale which makes complete sense in its own world. As a result, the preposterous situations seem completely plausible. Even the manipulative tone is rewarding in this case.
The Perfection, at its core, is reminiscent of campy B-grade flicks. It involves many startling moments. They wouldn’t have worked if not for the fascinating and unnerving cuts. The film starts with Allison Williams’ character being introduced as a troubled child named Charlotte. She’s a bright pupil at an elite music university called Bachoff from Boston. She is on her way of becoming a cello prodigy but has to step back because of her mother’s illness. Meanwhile, she is replaced by someone else. That another child musician, Lizzie, admired Charlotte from even before and wanted to reach her level of expertise. As children, they hardly have any interaction with one another.
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Flash forward and 10 years later, we meet the older Charlotte who’s flying to Shanghai as one of the judges for a musical competition. She’s going to join her mentor from the university, Anton (Steven Weber) and his wife, Paloma (Alaina Huffman) for the process. Now that her mother is dead, she has no other responsibility stopping her from doing so. Still, she’s not there just to see the selection of new pupils for their university. Rather, she is curious about Lizzie (played by Logan Browning) who has achieved the success that she could have.
After the concert, they’re introduced to one another by Anton. Their shared glances convey more interest on the surface with a tinge of jealousy lying underneath. Eventually, their conversation turns their apparent rivalry into affection. Their chemistry flourishes in no time winding them up in a bed together. Eventually, they decide to explore China and its food, which leads them on a bus journey. And during the journey with all the Chinese folks around, Lizzie starts vomiting from a possible food-poisoning. It leaves Charlotte struggling to communicate with the people who can’t understand anything other than their native tongue. The horrifying sequence is further amplified with often ludicrous twists followed by a sudden flashback. The trick, which is used more than often, never fails to captivate. Explaining any more plot-details would ultimately spoil the film.
Speaking about the performances, Allison Williams is especially impressive here, who almost slits your throat while switching between her usual peppy persona and the sly motivations underneath. She has come a long way in sharing her acting chops after being known only for her pleasing presence as a privileged character from Girls. She’s even more enticing than her turn in Get Out which creates a completely new ground for her to explore. Her complex performance is complemented by Browning, who is just the right amount of deceitful and cunning in the role of Lizzie. Both of them are more than convincing as the world-renowned cellists.
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Due to their beguiling chemistry together, backed by the seductive narration, it often becomes an erotic thriller. And while being a thoroughly immersive slasher flick, it even indulges in body-horror subplots. The film occasionally peaks to become a sexploitation flick because of its aesthetic and musical choices. Still, while dealing with many themes, it hardly gets tiresome. Needless to say, it is endlessly entertaining with the unpredictable plot, which will keep you hooked throughout its runtime.