The Perfection (Richard Shepard, 2018)

Early in The Perfection, one character admires her travelling companion’s ease with purchasing bus tickets for their tourist jaunt across China: “That would have taken me three hours,” she says, “and lots of manic hand gestures and then desperate crying and then probably we would have ended up in South Korea.”

In the moment, that line is simply self-deprecation about being an American abroad, but in retrospect it almost perfectly describes the journey the film takes. Desperate crying and manic hand gestures, some concerned with performing acts of violence, are imminent for both parties. The film’s venture to South Korea is only literal, though, in the sense that in tone, atmosphere, surprising gear shifts and content, the film resembles some of the most beloved Korean genre movies of the past two decades more than anything contemporary coming out of the USA, and one Korean filmmaker in particular. The Perfection feels more like Park Chan-wook making an American movie than Park’s actual American movie, Stoker, did…

Full review for Little White Lies

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