Perfect Strangers

Greatly enjoyed this low budget film starring Anne Carlisle, (Sally) and Brad Rifin, (Johnny) and a little boy who becomes the real star of the show. This picture opens up with two men going down an alley in New York City and one of them gets knifed to death along with his throat cut from left to right. This is a mob rub out, however, there is an eye witness and the killer sees him face to face. The killer tells his mob bosses about the witness to his crime and that he will search the streets around the area of the killing. Brad Rijin, (Johnny) plays a mobster who meets up with a young gal named Sally, (Anne Carlisle) and the two of them pretty soon start making love, however, Johnny is only using Sally in order to gain her confidence and at the same time kill the witness to his crime. Entertaining film with great scenes of the Brooklyn Bridge and the Twin Towers in the background, rather sad. Enjoy.

A hit-man 's crime took place under a toddler's eyes.The boy cannot speak yet ,but as his mother unwisely says,he's very clever,very observant and when he starts speaking,he will have a lot to tell us about.So the murderer seduces the mother in order to get rid of the witness.The only interesting scenes are the ones which involve the man and the child.And even with them,the movie never really takes off.The writers drag things out with their photographs trick which exhausts any suspense.The adults are not very convincing,and Johnny's behavior does not make any sense.The mother is a bubblehead -how long it takes her to find out what lies beneath!-,and the actress does not even succeed in making us believe she loves her son dearly.

Apparently, this and Special Effects were shot back to back in 1983/84 as part of a package low-budget deal with Hemdale Films, and Cohen looked at Blind Alley as the "less complicated" one of the two (and hey, what says in-complicated like trying to direct a baby, right? By his account the baby Matthew did what he was told for the most part with help from his parents, and to Cohen's credit he's a great Baby Actor if that's a term I can throw, oh hey it's my review so I just did). The general impression on the whole from this one - which I like just slightly more than Special Effects) - is that it feels like Cohen in both the script and execution is making this like a Poverty Row director might in the 1940s, only updated for gratuitous nudity and occasionallu more brutal violence.

This is both to the benefit and detriment in the final product. I get that the film is about this baby who sees a killing, and even matches eyes with Johnny the killer (the actor Brad Rijn carries a certain intensity that works overall, a highlight being when he explains in his way of "comparative analysis" to Matthew via magazine how his predicament is not unlike... Elliot in ET, and it makes me smile to think of Larry Cohen watching ET like everyone else in the world, but I digress), and that Johnny is so pathological about pleasing his underworld boss that he'll stop at nothing to make sure the baby doesn't uh squeal or rattle or what have you, but... He's a baby. Cute one, but still not quite exactly able to pick a guy out of a line-up.

And the extent to which he ends up going to to shut a tyke up who can't even form words past Mom and No is kind of ridiculous. Moreover, Johnny is a pretty stupid and (connected with the Cohen ouvrere) violent and crazy, but by a certain point it's also the mom's fault for not seeing his other motives (Anne Carlisle, who actually does quite well with what she's given, most of all that intense real-crowd filmed set piece in the Soho streets with mom's baby daddy).

On the other hand, I like that only a story with such a nutty premise and execution, including a cast of supporting women friends of the Mom who make this a semi-sorta commentary on Feminist action against scumbag men (which in Cohen's world is almost a redundant statement) could come from such a mind and cinematic personality as his. It doesn't all work and sometimes drags, like with a police detective working the murder case who gets saddled with some clunky lines that only leads to a predictable (if dark) point, but Cohen, when he and his DP aren't using that high contrast or glaze or whatever it is on the lens to make exterior day scenes too bright, has some captivating compositions, like that other murder in the building set in silhouette against the downtown Manhattan skyline, or that wild shot where we see the kidnapping as the baby is on the carousel attached to a truck(!)

And how this ends ultimately is satisfying, even if it takes some time to get there. It's probably minor Cohen, but if you're like me and working your way through his body of work, it has its moments and eccentric and funny and hard-edged dialog to get you through.

"Perfect Strangers" is a thought-provoking thriller that delves into the complexities of human relationships and societal norms. The film tells the story of Johnny, a mafia hitman, who befriends a single mother, Sally, in order to get close to her two-year-old son, who witnessed one of Johnny's hits.

Larry Cohen's direction is impressive, as he weaves together a complex narrative that explores themes of identity, morality, and the blurred lines between right and wrong. The film's use of New York City as a backdrop adds to the gritty realism, and Cohen's ability to capture the city's energy is commendable.

The cast delivers solid performances, with Brad Rijn shining as the charismatic but troubled Johnny. Anne Carlisle brings a sense of vulnerability and determination to the role of Sally, making her a relatable and rootable character.

One of the standout aspects of "Perfect Strangers" is its ability to balance thriller elements with social commentary. Cohen tackles themes such as feminism, identity, and the objectification of women, adding depth and complexity to the narrative.

While the film's premise may seem ridiculous at times, Cohen's direction and the cast's performances make it work. The film's pacing is well-balanced, and the tension builds slowly, keeping the viewer engaged.

Overall, "Perfect Strangers" is a unique blend of thriller and social commentary that will keep you on the edge of your seat. With its complex characters, gritty realism, and thought-provoking themes, it's a must-watch for fans of Larry Cohen and those looking for a film that will challenge their perspectives.

One thing I always loved about Cohen's scripts is he could always find the smallest hook and exploit the concept to its fullest potential. This is a great example of that with an emphasis on small. Mafia hitman Johnny (Brad Rijn) offs a drug connection in a back alley, but notices a 2-year-old boy saw him. The mob doesn't sit well with this - the "no women, no kids" rule apparently on hold that day - and wants the kid offed before he...baby talks? So Johnny goes about befriending the boy's single mother, Sally (Anne Carlisle), in order to get close to him. Because, you know, saying, "Jesus, guys, the kid is only two and I'm pretty sure he won't identify me in a line up" won't work. It is to Cohen's credit that he can make such a reeeeee-diculous premise last for 90 minutes, but this is not one of King Cohen's best, for sure. There are some admirable parts though. He captures New York City really well and there are some amusing smaller roles (Otto von Wernherr is hilarious as a private eye vit a zick German accent). Cohen also shows some balls as he steals footage during a major feminist rally one NYC night and also has a confrontation between Sally and her ex that clearly no one on the busy streets knew was filming as a crowd gawks at them arguing (look for Cohen cameos in both scenes). In the end, however, it is hard to take the scenario seriously, especially when mafioso types are talking about how to silence a 2-year-old.