Review: The Perfection, 2019, dir. Richard Shepard

A note on Allison Williams: She’s immensely talented. But referring to Get Out as a “psychological thriller” is a big party foul. You all know me. I want my horror movies to be called horror movies. Sure, they’re thrilling. Sure, they have major psychological components. But they’re horrifying most of all! So, like, I dunno. Just call a horse a horse or a horror film a horror film, jeez.

Her latest horror film, The Perfection, is no Get Out, but I like the way she navigates the genre, and for the most part I like the movie itself; points deducted for going to (admittedly impressive) lengths to make sure the audience is never at any point left perplexed by its many twists and turns, because horror, maybe more than any other genre (save perhaps noir), benefits from mystery, and ambiguity, and loose ends. The Perfection‘s ends are more or less as tied up as the tourniquet Williams ties for Logan Browning (spoiler, sure, why not), but the ending orbits one of the most insane images I’ve seen in a film in a few years. Very Tales From the Crypt.

Speaking of: I’m getting tons of Crypt vibes from horror movies this year. That’s probably another piece for another time.

You can read my full review of The Perfection, replete with more spoilers, over at Paste Magazine.

 

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