Longlegs

Longlegs

Released July 12, 2024

Written and Directed by Osgood Perkins

* No Spoilers *

I typically don’t go out of my way to watch horror movies or thrillers but the enigmatic trailer and surprise casting of Nicholas Cage was enough to pique my curiosity. Longlegs is written and directed by Osgood Perkins (The Twilight Zone) and though not familiar with his previous work I knew he has a history with this genre.  That is all I knew about this movie before watching it and as I often say, the less you know the better. For a mystery thriller half the fun is the slow unveiling of the plot, so I’ll keep my recap of the premise brief. The story follows a young FBI agent as she investigates a satanic serial killer. Obviously full of intrigue and twists, the investigation delves into the entangled history of it’s characters with a solid dose of the seemingly supernatural. 

Like any great thriller, Longlegs uncovers its mystery while sufficiently foreshadowing where things are headed next. It feels familiar but stops just shy of falling into cliche by delivering it’s fair share of interesting and well set up twists. I appreciate when a movie can have moments that are completely shocking while slowly guiding you as it builds to an inevitable outcome. There is a degree of ambiguity to the conclusion that will likely divide audiences, leaving some unsatisfied. As frustrating as those unanswered questions can be I prefer that to being spoon fed a conclusion. That said I don’t think a story about this subject mater can ever really be described as satisfying. 

The direction and cinematography are impeccable. The movie is set in the 1990’s and uses lots of dark wood interiors lit by amber tinged lamps to capture the time period. I loved the colour palette and it reminded me of David Fincher’s work from that same era. Parts of this felt clearly inspired by Se7en or Zodiac, but the way Longlegs was shot was entirely unique. There was a strong sense of isolation and claustrophobia throughout due to the use of wide angles with characters in the middle of the frame, surrounded by an excess of negative space. The framing also compels a sense of paranoia, forcing you to diligently scan the background for a looming figure that may or may not appear. There are a few subtly creepy moments that are so brief or obscured from view that you might miss them or question if it was just your imagination. They are unnerving and were left imprinted in my brain long after leaving the screen. The brief sight of glowing eyes or a shadowy formless silhouette definitely made my hair stand on end. 

The most visually striking element is the recurring use of a retro square border which first appears with the film’s opening shot. The way Perkin’s returns to that framing is a clever visual cue that sets the stage for a great midpoint reveal. That use of that cropped frame is a classic example of the visual storytelling I crave in a cinematic experience. I also appreciated how shots would often focus on a character’s face and their reactions rather than the events unfolding. This was especially impactful during the more harrowing and tense moments. The use of light and shadows was fantastic. Seeing characters tip toe through an abandoned farm house as the beams of their flashlights pierced through the dust filled air was stunning.

The sound design is fantastic, creating a sense of unease and dread. Loud knocks on an old wooden door, or the creak of floor panels are classic horror sound effects but they were used effectively. There are a couple of jump scares in this, but they didn’t feel cheap or lazily done. In fact Longlegs might have one of the most effective jump scares in recent memory. It was so overwhelming that the woman in front of me shrieked. Trust me, you’ll know which one I’m talking about when you see it. The music uses the typical horror palette of tense strings, an off key music box, and unnatural staticky distortion to great effect. All the cinematic elements worked together to achieve an eerie and off putting atmosphere. 

I hope Nicolas Cage pays his agent or management team generously because recently he has been cast in the most perfectly suited roles. From 2023’s Dream Scenario, to this year’s Renfield, his uniquely enigmatic personality has been utilized like never before. His casting as a deeply disturbing and unhinged serial killer is phenomenal while simultaneously utterly ridiculous. As with most Nic Cage performances I am left wondering if it was great acting or a solid use of his odd mannerisms and unmistakably signature presence. In this case it might be a bit of both. Had I never heard of Cage or seen his various “memable“ scenes I think this character would be utterly terrifying. He is under heavy makeup and looks nothing like his usual self (the makeup isn’t great and definitely shouldn’t win any awards) but no amount of prosthetics could obscure the identity of someone so iconic. I’m curious how someone less familiar with his work would feel about the character. 

Blair Underwood (Quantico) is solid as the senior FBI agent that is assigned to the case. He is a mentor figure with a bit of an edge.  His performance is subtle and gave a sense of intrigue into his character. Alicia Witt (Justified) is remarkable as the protagonist’s mother, Ruth Harker. She is somber, dejected and intriguing. Though her screen time is brief she definitely stood out. (Fun Fact: She played Alia in David Lynch’s 1984 adaptation of Dune). Kiernan Shipka (Mad Men) also has a limited role but delivers a chilling and memorable monologue. 

The stand out performance is Maika Monroe (It Follows) as Lee Harker, our protagonist and newbie FBI agent. So much of this story relies on her selling the sense of tension and curiosity to the audience. Her character is intentionally awkward and rigid, feeling almost robotic at times. Line deliveries are often deadpan and flat but it fits with her character. Lee is a stoic and detached genius so the few moments where that shell breaks feel far more impactful. There are multiple scenes where we follow her during a long take, seeing only the distress in her eyes as she is excessively hyperventilating. It’s that ability to shift from vacant apathy to extreme exertion that makes her acting so memorable. 

Longlegs doesn’t redefine the genre nor does it do anything particularly new, on the contrary it actually borrows a lot from other films. However, it tells its story with a technical prowess that deserves to be recognized. The direction, cinematography, sound design, editing, and even the narrative are presented with a lean efficiency that manages to pack so much into a relatively short runtime of 1 hour and 41 minutes. Perkin’s doesn’t spell things out for us but he also foreshadows well, towing a fine line between predictability and a well guided narrative. There is adequate balance of both showing and telling, as well as holding back from both when needed. Unfortunately the story didn’t resonate with me like the movies it is clearly borrowing from. I was never truly scared and despite the intriguing mystery I was never fully drawn in and engrossed. Nicholas Cage’s casting is a double egded sword. Were it not for the amusement I find from any Nic Cage performance I probably would have been terrified throughout. At the same time his signature ridiculousness was humorous enough to undercut the fearful atmosphere this movie so expertly crafted. 

7/10 - An artsy and tense thriller made by creatives who clearly love cinema, but not a film I expect most to enjoy. It’s a creepy, beautifully shot, and well presented narrative that ultimately didn’t resonate with me. I know there is a lot of hype surrounding this that is justified for the atmosphere alone but I don’t think it is the groundbreaking thriller it strives to be. Though I’m sure many will appreciate it on a technical level, I wouldn’t recommend it to those who aren’t fans of arthouse style indie movies, supernatural thrillers, or the brilliant weirdness that is Nicholas Cage.