Review: ‘Longlegs’ walks in with a wintry moodiness, and its thrills are just getting started

As a dedicated film enthusiast with a deep appreciation for the art of storytelling through moving images, I cannot help but be utterly captivated by Osgood Perkins’ chilling masterpiece “Longlegs.” From the outset, this eerie, occultist serial-killer horror thriller leaves an indelible mark on the viewer. The opening sequence, a mere minute or two long, is a masterclass in cinematic technique that sets the tone for the unsettling journey ahead.

In the opening scene of “Longlegs,” directed by filmmaker Osgood Perkins, we are instantly gripped by a haunting sequence that lasts barely over a minute. Through clever use of camera angles, editing, and acting alone, Perkins creates an unsettling atmosphere filled with shock, awe, and even a hint of humor. This brief moment leaves a profound impact on the audience, stirring up deep-rooted feelings of unease as the tension builds to a bursting point, much like a dramatic musical cue.

As I sat in the darkened movie theater, the chilling atmosphere of “Longlegs” sent shivers down my spine. It wasn’t the on-screen actions or grisly imagery that left me trembling, but rather Perkins’ brilliant storytelling and innovative filmmaking. From the very beginning, he declared his daring intentions to create an unsettling tone and suspense, which he executed flawlessly.

To get the most out of “Longlegs,” it’s often better to go in with minimal knowledge. In other words, if you enjoy unexpected plots and a mix of fear and dark humor for an hour and a half, then by all means, keep reading (or watching). But for those who prefer a more lighthearted cinematic experience, it might be best to stop here. However, “Longlegs” is such an intriguing piece of work that exploring its depths, despite the challenges of discussing its true terrors, is a rewarding endeavor.

In my perspective, “Longlegs” bears a certain resemblance to “The Silence of the Lambs” by Perkins. Both stories follow a young female FBI agent named Lee Harker (Maika Monroe), who engages in a deadly game of cat and mouse with a serial killer. There’s also a common thread of appreciation for ’70s British rock between our protagonists and their antagonists.

I’ve always been drawn to the enigmatic and intuitive Harker, despite her preference for solitude among people. Her unique ability to sense hidden meanings and unspoken truths makes her an intriguing character. That’s why Special Agent Carter recognized her potential and brought her aboard to reexamine a series of chilling family murders. The perpetrator, known only as Longlegs, has left cryptic messages claiming some sort of distant connection.

In a surprising and distinctive role, Nicolas Cage portrays an eccentric suspect. His acting is exceptional, and it’s evident that he relishes every aspect of his bizarre and alarming character (Nicolas Cage always gives more than expected in his performances). Alicia Witt joins the cast as Harker’s mother, sharing a complex bond with him. Monroe, with a quiet and melancholic demeanor, serves as the calm center among the vibrant personalities, including her demanding boss Carter.

In a harmonious collaboration, Perkins’ meticulous and precise filmmaking complements the captivating acting: The son of “Psycho” star Anthony Perkins, Perkins exhibits an impressively methodical approach to constructing cinematic scenes. Alongside cinematographer Andres Arochi, who masterfully manipulates light, Perkins skillfully positions Harker in intricately framed shots that underscore her insignificance in the vast surroundings. The camera alternates between observing our protagonist from a distance and adopting her perspective, allowing us to share her feelings of vulnerability and powerlessness. Gradual zooms reflect her perspective, while retreating shots pull her deeper into peril, her gun perpetually at the ready.

As a cinephile, I’d describe it this way: The camera in this movie feels all-knowing and ominous, giving off an unsettling vibe reminiscent of “It Follows” by Monroe. Yet, the recurring shots and situations subtly link various characters throughout the film, creating a unique internal rhythm in the storytelling. Despite its defiance of conventional logic, there’s a sense of harmony in the cinematic techniques used.

The film “Longlegs,” with its exceptional production design by Danny Vermette and set decoration by Trevor Johnston, transports us to the mid-1990s in Oregon through its vivid visuals. The artful depiction of this era and setting is enhanced by the inclusion of intriguing and memorable secondary characters, played by Perkins’ brilliant cast. These characters add depth and complexity to “Longlegs” world and help us better understand the main characters by showing how they engage with their surroundings.

As a film enthusiast with a deep appreciation for enigmatic and thought-provoking cinema, I found “Longlegs” to be a captivating and intriguing work of art that refuses to provide easy answers. With each viewing, it presents itself as a complex puzzle, a riddle waiting to be unraveled. And yet, the beauty of this film lies not in its solutions but in the journey.

Katie Walsh is a Tribune News Service film critic.

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2024-07-22 23:32