Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.

Chuck Bowen

Slant Magazine

Perfect Strangers takes too much time to get to its big game — nearly its full first act is consumed by introductions and set dressing, most of it unnecessary, considering how believable the group’s chemistry is — but once it kicks into gear, the effect is dizzying.

This picture is well acted (one of the cast members, Manuel García-Rulfo, has a growing profile in Hollywood; he was seen last year in “Widows” and “Sicario: Day of the Soldado”) and maintains narrative interest without ever grabbing the viewer by the lapels.

Glenn Kenny

The New York Times