- #Love with the perfect stranger movie movie
- #Love with the perfect stranger movie plus
- #Love with the perfect stranger movie windows
Additional problems at home become sensitive landmines ready to destroy the evening on the slightest misstep.Īfter a few reveals, “Perfect Strangers” settles into a rhythm, and the suspense fades into expectation. The door is out of frame and feels as if it’s moving further away as the night progresses. The group’s expressions shift from puzzled or shocked as they realize their friend or loved one wasn’t always honest. For most of the film, the camera is anchored to the middle of the table or hovering just outside of it, looking at the group as they look at each other.
#Love with the perfect stranger movie windows
There are never enough windows to look out of, and few (if any) places to hide, or spaces to move around in.
#Love with the perfect stranger movie movie
Like Sidney Lumet’s “ 12 Angry Men,” James Ward Byrkit’s “ Coherence” or Roman Polanski’s “ Carnage,” trapping the camera in close quarters with troubled characters gives this movie a sense of claustrophobia. We may not know exactly what cards they’re holding, but it can’t be good. The experience is something close to playing poker with someone who sighs loudly with every turn. The movie’s not-so-subtle music cues heavily imply that this evening will not end well. This makeshift social pressure forces these friends to give up their phones-and subsequently, their dirtiest secrets-for a laugh. Everyone deposits their phones in the center of the table, and any received text, WhatsApp message and phone call over the course of the next few hours is supposed to be shared with the group-no exceptions. After a recent bit of news about another couple broken up by infidelity, the group gets the idea to play a game over dinner.
#Love with the perfect stranger movie plus
On the night of a blood red moon eclipse, a Mexico City-based group of old friends and their plus ones gather to watch the astronomical event, eat, drink and gossip. Long overdue for DVD release.That’s the tension behind Manolo Caro’s “Perfect Strangers.” The film’s premise is simple yet made suspenseful with a 21st Century twist. This was an era where the final black and white movies were being made-TO KILL A MOCKING BIRD, BIRD MAN OF ALCATRAZ, THE AMERICANIZATION OF EMILY, PSYCHO were the last gasp of this medium. Natalie Wood is incandescently beautiful in black and white and still the loner, McQueen's intensity is a bit more subtle than usual. It struck this teenager at the time, as a very sophisticated film. Steve's poster-"Better wed than Dead," is a sweet coda. The rest of the film with her facing down her overly protective Neanderthal brothers and getting her own apartment, follows the young lovers as they try to do the right thing. McQueen being reluctantly honorable is very sexy here.
The trip to a bad neighborhood to get the abortion is chilling, and Wood's absolute terror is genuine here. McQueen is a callow young musician, not looking to settle down with anyone, let alone a single pregnant girl, even if he is at fault.
Mulligan shows a very gritty, dirty, New York which has emerged from the 50s as a crumbling relic of a city, nowhere as clean and shiny as it is today. So is their decision to have an abortion. The story of a good working-class Italian girl in New York who gets pregnant by a man she hardly knows, is very strong stuff for 1963. Both would go on to successes and failures, but neither would seem as natural and as unaffected on screen again. This film has always struck me as Natalie Wood and Steve McQueen's best work in movies.
0 kommentar(er)
