The Perfect Guy is a 2015 American romantic thriller drama film directed by David M. Rosenthal, produced by Tommy Oliver and written by Alan B. McElroy and Tyger Williams and stars Sanaa Lathan, Morris Chestnut and Michael Ealy.

Successful lobbyist Leah Vaughn breaks up with her boyfriend, Dave King, because he refuses to commit to her wishes of starting a family.

On their way home from a trip to San Francisco to meet her parents, a stranger at a gas station asks Leah about Carter's Dodge Charger.

Leah later finds a threatening note and a single red rose attached to her car and files a restraining order against Carter, causing him to lose his job.

With the situation escalating, a concerned Hansen relays a story to Leah of a friend of his that bought a 12-gauge Remington shotgun that he loaded with two bean bag rounds and five live shells.

The website's consensus reads: "The Perfect Guy threatens to tip into enjoyably depraved territory, but ultimately settles for timid thriller clichés.

[17] Michael Rechtshaffen of the Los Angeles Times called it "a glossy, cliché-laden revenge thriller", commending Rosenthal and cinematographer Peter Simonite for displaying Los Angeles to "classic sun-kissed, noir-tinged perfection" but criticized Tyger Williams' script for not giving both Ealy and Lathan more complexity into their respective roles.

[18] Despite giving credit to the film's production efforts, James Rocchi of TheWrap saw it as "a perfect example of how lame, lazy material strands good actors," criticizing the screenplay for lacking in thrilling moments and giving its main cast clumsily written characters that deliver "lead, dead cliches of [the] dialogue", concluding that it "could have been a competent, engaging thriller, or at least a showcase for its talented leads; the tragedy comes in how firmly and solidly it takes so many actors and artists down with it.

"[19] Blake Goble of Consequence of Sound called it "a perfectly blasé fall thriller" that's devoid of the trashy, camp fun found in the Jennifer Lopez-led The Boy Next Door concluding with, "Where's the mania?

"[20] Kyle Anderson of Entertainment Weekly praised the film for getting over its "sluggish" first third to build tight, escalating moments that lead to a "satisfying white-knuckled finale" but felt it could've gone further in its given genre, concluding that, "When an erotic thriller leaves out the "erotic" part, all that's left is a perfectly adequate domestic disturbance tale that should have given in to its more base desires.

"[21] Clayton Dillard of Slant Magazine found Williams' script to be "routine" but gave praise to Rosenthal's ability as a director to explore "contemporary relations between race, gender and class" throughout the film, saying he "uses convention to his advantage through an intriguing play with casting choices and surprising, bizarrely effective allusions to film history.

"[22] Ben Sachs of the Chicago Reader called the film "a reasonably engaging thriller with some topical overtones", praising the three main leads for infusing their underwritten characters with charisma but felt the script didn't push further about the "fears of overreaching Internet surveillance" set against its Fatal Attraction story, saying "[T]he themes float emptily around the film—viewers are welcome to elaborate on them in their imaginations, but the filmmakers don't provide much help as to how audiences should interpret them.