Soundtrack review: The perfect guy (David Flemming and Alti Orvarsson – 2015)
“The Perfect Guy” is a 2015 American thriller film directed by David M. Rosenthal and written by Alan B. McElroy and Tyger Williams. The film stars Sanaa Lathan, Michael Ealy, and Morris Chestnut. It’s a relationship thriller involving a lobbyist, her boyfriend and another charming guy who swoops in and turns out to be a psycho. The score was written by David Flemming and Alti Orvarsson. I’m always excited to hear something from Orvarsson.
This kind of story screams generic thriller score and I am a little worried in the beginning. The main theme is nice and easy going and I’ve heard enough scores to forget it as soon as it’s over. “I can’t wait for you” gives me hope because there’s a cello insert in there that could be developed more. Yes this cue has the ingredients of an introductory thriller moment with the piano that points the questions and a slow burning, dark pace, but that cello bit made me hope.
The pace changes dramatically when things change in the story: “Gasoline” is the moment the music gets disturbing and almost unbearable. Great job by the composer making us feel the discomfort of the characters. It’s an explosion of sounds that marks the turn of the score towards thriller horror.
I keep waiting for something to grab me, scare me, make me jump out of my seat or want to take my headphones off but nothing happens. “The perfect guy” goes back in generic thriller land I am getting bored. Sure there are moments that get a little scary, sure the mood is dark but I’ve heard this score many times before and I can’t find something in “The perfect guy” to make me want to return.
From what I read about the movies, the reviews say that it’s a generic thriller that checks most of the clichés. Unfortunately the score seems to do the same so in this sense, I’m sure it works marvelous in context. I am also thinking that the director or producers or whatever asked for a score “which sounds like a thriller” or something similar and thus limited the creativity of the composers. It’s amazing to me that this score actually has two composers… if you hire two composers, at least let them improvise, write, imagine. I really don’t understand the need of a team for a score like this one.
Cue rating: 65 / 100
Total minutes of excellence: 0 / 52
Album excellence: 0%