LONGLEGS (2024)

In pursuit of a serial killer, an FBI agent uncovers a series of occult clues that she must solve to end his terrifying killing spree.

by Jono Simpson 14th July 202415th July 2024 Leave a reply

The anticipation and ambiguity surrounding Osgood “Oz” Perkins’ latest horror film, Longlegs, has been nothing short of a masterclass in innovative marketing. Focusing primarily on creating a haunting ambience and cultivating morbid curiosity, it undoubtedly rivals the ingenuity of The Blair Witch Project (1999) and M3GAN (2022). Neon’s promotional department has released episodic teaser trailers that left many audiences questioning the narrative. Alongside a website that contained secret files and cryptic puzzles to unlock evidence of the fictional murders as if they were real events.

Although promotional material has gradually revealed more hints about the premise, the most exciting way for audiences to experience Longlegs is by knowing as little as possible.

Set in the 1990s, young FBI recruit Lee Harker (Mika Monroe) is pathologically dedicated to her career. Highly intuitive yet emotionally distant, she displays skills that give her an advantage over her colleagues. Harker’s uncanny intuition eventually captures the attention of her superior, Agent Carter (Blair Underwood). He pulls her into his ongoing investigation that has plagued the community for almost three decades. Harker joins forces with her superior in the hunt for the notorious criminal Longlegs (Nicolas Cage), a disturbed individual responsible for the deaths of innocent husbands, wives, and children. He remains an enigma who is seemingly able to murder entire families without being physically present. All the evidence suggests murder-suicide except for an enigmatic cypher signed ‘Longlegs’ which was discovered at every crime scene. However, once Harker joins the investigation, her reality begins to unravel. As she slowly uncovers the motives of the grotesque individual, she discovers an insidious connection to her past.

Maika Monroe continues to impress in the horror genre with her latest role in Longlegs. Since her breakout performances in Adam Wingard’s The Guest (2014) and David Robert Mitchell’s It Follows (2014), she’s established herself as a genre darling. Here, she delivers a nuanced performance as FBI agent Lee Harker, avoiding melodrama while conveying the character’s heightened emotions. Monroe portrays Harker as both resilient and emotionally detached from her surroundings and loved ones. Determined to maintain control and prevent a deeper conspiracy, she subtly hints at a troubled past through her mannerisms and expressions. As the villain’s methods become increasingly cryptic, Monroe’s performance suggests a character harbouring repressed childhood trauma. This delicate balancing act invites comparisons to Clarice Starling from The Silence of the Lambs (1991), but Monroe excels in the role, creating a distinct portrayal separate from Jodie Foster’s iconic performance.

After showcasing his remarkable versatility with a subtle yet profound performance in Michael Sarnoski’s Pig (2021) and embracing theatricality as Dracula in Chris McKay’s Renfield (2023), one might think Nicolas Cage had reached the full spectrum of his acting abilities. However, Longlegs reveals previously unseen depths of his talent. Unrecognisable under heavy prosthetics, Cage delivers a chilling performance as the titular character. Whether singing a familiar tune or lurking silently in his derelict workshop, he effortlessly portrays an erratic unpredictability that makes the character both strangely affable and menacing. Perkins keeps this enigmatic figure shrouded in mystery, ensuring his brief appearances leave a lasting impact. Cage’s performance is one that slowly gets under your skin and lingers long after the film ends.

Even with these titanic performances at the heart of the story, the real star is writer-director Oz Perkins. Whether it’s the harsh locations forming the backdrop of The Blackcoat’s Daughter (2015) or the somnambulant atmosphere permeating I Am the Pretty Thing That Lives in the House (2016), the filmmaker has an intrinsic ability to craft surreal horror that renders the familiar strange, and the strange familiar.

Embracing the American Gothic aesthetic and tripartite structure of his previous work, Longlegs unfolds in an uncanny version of reality bleached of hope and saturated with malevolence. A cold and indifferent reality where executions are as casual as answering the telephone.

Comparisons to The Silence of the Lambs and Seven (1995) are inevitable, but Perkins embraces the supernatural and filters his familiar premise through the distorted lens of Satanic Panic.

Audiences expecting a completely grounded crime thriller adhering to the same tone as Jonathan Demme’s and David Fincher’s aforementioned classics may be underwhelmed. Beginning as a grisly police procedural, Longlegs straddles the boundary between crime thriller and supernatural horror with enthralling finesse. Perkins frequently destabilises the audience by unveiling disturbing imagery such as unsettling photographic evidence and nauseating sequences of maggots festering on decaying corpses.

Despite these brief moments of gore, he leans into the psychological underpinnings to inflict the most excruciating punishment. The prologue emphasises the unsettling atmosphere Longlegs weaponises and uses it throughout the remaining runtime. Presented in the claustrophobic confines of the academy ratio, the scene opens with a flashback of a car approaching a secluded farmhouse. As a young girl emerges inquisitively from the house, she’s confronted by a sinister guest. In a strikingly audacious composition that reveals only his lips, Longlegs makes a fleeting appearance before a jarring chord disrupts the silence, ushering in the title card.

Leaning towards arthouse cinema rather than standard horror fare, Perkins understands that what we don’t see is often more unnerving. His meticulously structured and geometric idiosyncrasies pair wonderfully with debut cinematographer Andres Arochi’s distinctive photographic sensibility. Arochi’s exclusive use of ominous wide lenses amplifies the persistent feeling of encroaching paranoia and dread. He frames his subjects in the centre of his compositions, leaving the vast space around them empty. This negative space is used to great effect, actively misdirecting the audience’s attention and subtly guiding our imaginations to project our most personal demons into the shadows. The true horror remains in the indistinguishable silhouettes and demonic forms lurking on the periphery. Voyeuristic figures or inhuman eyes appear just enough to ensnare the viewer’s attention before quietly dissipating into the ether. It’s relentlessly foreboding and burrows into the subconscious with each step towards damnation.

The diegetic sound design crafted by Eugenio Battaglia (Hello Destroyer) complements the nightmarish visuals and enhances the film’s unflinching outlook. Prominent rock songs like T. Rex’s “Bang a Gong (Get It On)” are juxtaposed with a cacophony of harrowing screams raised to an almost assaultive level. Meanwhile, sinister whispers emanate from nowhere, providing a sonic dissonance to the most unassuming moments. Instances of supposed normalcy become insufferably tense as Harker falls down the rabbit hole, deciphering Longlegs‘ enigmatic language and cracking occult puzzles. This combination intelligently elevates the blasphemous brutality lurking beneath the surface, heightening the simmering tensions developing between the characters.

The audacious claims suggesting Longlegs is one of the scariest films ever made are demonstrably overstated. However, it does possess a genuine talent for unsettling its audiences in the most exquisite ways. Channelling the absolute best of Ari Aster (Hereditary) and Robert Eggers (The Witch), Oz Perkins excels in crafting and maintaining a suffocating atmosphere that patiently and methodically tightens around the neck like a hangman’s noose.