Rating: 4/5
Synopsis:
“Longlegs” has been the subject of a brilliant marketing campaign. The buzz and discussion surrounding the film have been truly unique. Osgood Perkins, son of Norman Bates himself (Anthony Perkins), gives us a story that reinvigorates the murder mystery genre. The film follows Agent Lee Harker, a socially removed FBI agent who has a knack for decoding riddles. Harker has a natural inclination for predicting what will happen during an investigation. She is assigned to a case involving family murders, all where the fathers are the culprit. But she finds that a mysterious man under the name of Longlegs is orchestrating these killings. Agent Harker must use her intellectual gifts to catch Longlegs, but also confront the personal connection she shares with him.
Positives:
There is a lot to admire about “Longlegs”. It carries a weighty tone throughout the story that lingers with the viewer until the credits roll. Director Osgood Perkins establishes a gritty, disturbing tone early on that constantly warrants a sense of dread. As the story unfolds, I always wondered if the events being shown were surface level. There is this lingering feeling that something isn’t right and that we aren’t being given all the information. A film that uses this tactic effectively creates a great sense of intrigue amongst the audience. Another way Perkins develops tension is the usage of wide angle camera shots. We get many sequences of close ups on a character’s face while there is a lot of background space behind them. What makes this more effective is the dimly lit setting behind them, creating an uneasy sense of terror lurking in the darkness. My eyes were darting back and forth trying to pick up clues and see if there was anything sinister happening behind the characters. Sometimes there are hidden clues and sometimes there aren’t. I love that, the ability to keep the viewer engaged with a visual style that lets their mind concoct theories about what’s going on. There are so many little details that make the film work. On the surface it may appear as a slow burn mystery, but I believe there is a lot happening that most viewers will miss if they’re not paying attention.
Sound design is another aspect that impressed me. Since the film relies on long lasting tension, any sound or creak that is made really stands out. This made for some truly unnerving sequences that rely on a lingering discomfort and background noise. I also thought the cinematography was a standout. Grading in the film was often a neat contrast of color palettes. Whether it be the chilly winter weather or a dark, ominous background, the sharp visual style really helps the setting pop. The cast is small but makes their screen time count. Maika Monroe and Nicolas Cage are the performances to highlight. They contrast with each other nicely, where Monroe displays restraint and composure. Cage on the other hand gives us his most unhinged and disturbing performance to date. The differences between the two characters gives us a great cat and mouse dynamic as Harker tries to solve the mystery behind Longlegs’ motivations. Monroe does a nice job conveying a character who has a troubled past with demons lurking beneath the surface. As the film goes on, her character’s odd behavior makes more sense as the layers are peeled back. Cage succeeds when his character is restrained. His physical transformation is horrific to look at, sure to make viewers wince at his presence. I enjoyed seeing him take a risk on a performance requiring so much of him.
Negatives:
I was hoping “Longlegs” would be a gamechanger for the genre and reignite the demand for serial killer mysteries. Unfortunately I don’t think this is the film to do that. There is an undeniably artsy nature to the film that won’t connect to some mainstream audiences. It doesn’t feel as accessible as something like “Silence of the Lambs”. This story is more of an exploration in mood and tone rather than a truly perplexing mystery. While the premise is interesting, I believe the film is more concerned with larger symbolism and challenging the viewer. This isn’t a bad thing per say, but just something to be aware of for audiences who know their preferences.
There are some story elements that didn’t come together either. Perhaps multiple viewings will be helpful in understanding the many layers Perkins crafts for his story. This could frustrate viewers who don’t want to study the film and explore it multiple times. There are lots of unanswered questions that leave audiences with an anonymous resolution. I also think Cage’s performance will draw some mixed reactions. When he is restrained, he is excellent. But there are a handful of scenes where he is going ballistic and hamming it up to the max. This cut some of the tension during scenes that should have been bone chilling. I believe these decisions were intentional to make his character an unhinged looney toon, but the performance would have been stronger with less of the theatrical behavior.
Conclusion:
Osgood Perkins provides a memorable and unsettling exploration into the occult. “Longlegs” is a fresh entry in the serial killer genre that is creating lots of buzz. The technical aspects of the filmmaking are top notch, creating an environment that is truly unsettling. The lingering sense of dread is sustained for most of the runtime. Monroe and Cage prove they’re up for the challenge, creating a dynamic that has hints of Starling vs. Lecter. While the niche direction and occasionally hammy performance from Cage won’t be for everyone, this is a fun movie to experience in a packed theater with other viewers wanting to see what the fuss is about. I hope “Longlegs” inspires more murder mystery movies to make their way to theaters soon!
