Horror films have flourished over the past decade. The familiar conventions have been altered through different perspectives from new filmmakers. No film is ever inherently original because of the foundation for each genre. There’s a way to honour the motion pictures that have come before while adding another visionary layer through a different lens based on its director. Longlegs director Oz Perkins wrote a satanic story that links trauma and rooted evil in reality. The familiarity lies in the similar tropes related to the devil downstairs. Still, the visual storytelling and the narrative structure make the film feel like a fever dream for audiences. In this nightmare, two FBI agents are in pursuit of a serial killer. It can be said that this film is a cross between Seven and Silence of the Lambs in the best way possible. Perkins creates an unsettling atmosphere through an experimental lens while pulling a gut-turning performance out of Nicolas Cage.
The opening of Longlegs is an enticing basis and sets the tone for the rest of the film. Not only do we get an introduction to Longlegs, but we get the origin of one of our characters. The cinematography of Andres Arochi is quite striking, there’s a mix of predictability and the unknown in how the serial killer is framed. The colour palette is also a factor; Arochi prominently uses white, black and red to juxtapose the innocent and sinister. Perkins reminds audiences of an uneasy feeling throughout, rather than a quick jolt. Even though Cage is a secondary character, there isn’t a moment where you don’t fear him. Cage had the opportunity to take it to another level of psychotic. This is truly one of his best performances because it’s an outlandish character for him to play. It got to the point where it didn’t even feel like him. From the moment it began, the voice of Nicolas Cage caused shivers because the top part of his head was out of frame. The focus was on his lips moving and his mannerisms while speaking to a little girl.
As his string of murders unravels, the supernatural element is subtle and not overpowering the detective work from the FBI agents. Agent Carter (Blair Underwood) and Agent Lee Harker (Maika Monroe) are on the case. Agent Carter has seen families die in the area with no evidence of an outside source and takes Agent Lee Harker under his wing. Agent Carter doesn’t know that Lee is a psychic and can interpret situations differently. Monroe’s stoic performance is fantastic and this is one of her best roles to date. She has always been a horror darling, but this will solidify her place in the genre. Internally, Lee is battling with her past as she uncovers the truth about Longlegs. She had a very Catholic upbringing because of her mother and they do not have the best relationship. All of this comes into play and becomes a crucial moment in the third act. The slow build allows audiences to sit with the characters and feel a sense of dread because humans can be evil.
Oz Perkins made something special for horror audiences referencing classics through his visual style and characters. It’s the work by Andres Arochi that elevates the familiarity of the story to new heights. Viscerally, the quick cuts and grotesque imagery layers the horrific aspects of the film. Even the use of flashbacks to show the history of Longlegs adds to the evil that has been running rampant for years in the city. What Perkins explores thematically is humans can be conditioned to make evil decisions. One performance that slowly flourishes towards the end is Alicia Witt, who plays Lee’s mother Ruth. Through Ruth, we see Longlegs become an umbrella for disciples to continue his work, a fixture for those who are lost and not aligned with moral values. Longlegs is easily one of the best horror films of the year. Although the ending could have been neater, the journey with the FBI agents is suspenseful and thrilling. It also has one of the best scores of the year composed by Elvis Perkins. It never drowned out the silence on screen and creepily came in when necessary.
4.5/5
Review by: Amanda Guarragi
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