LONGLEGS, US, 2024. Starring Maika Monroe, Nicolas Cage, Blair Underwood, Alicia Witt. Directed by Oz Perkins. 101 minutes. Rated MA (Strong horror violence).
Longlegs was an immediate success on its release, spurred on by clever marketing that advertised the film as starring Cage but providing no images of him. For many bloggers, the marketing and promotion seems to have backfired for them, one not finding Longlegs as striking as hyped and hoped for. For others, such as this reviewer, find Longlegs effective in what it sets out to do and its effect on its audience.
Basically, this is an FBI investigation film. Lee Harker (Monroe), a young agent, investigates the death of a family – the father committing suicide after killing the rest of his family. She seems to have some kind of clairvoyant power and is given the files of previous similar murders occurring over some time and makes all kinds of connections. She is working with FBI chief Carter (Underwood), who relies on her conclusions.
The film opens on a car driving through the countryside. There is a little girl inside a house with a camera, going out to look at the visitor who does not get out of the car, then encountering a strange character tantalising and menacing at the same time. The audience gets a partial glimpse of Longlegs, leaving the full visuals until the second part of the film. Longlegs is played by Cage, who has played is fair share of manic characters. This one must be near the top of the list.
The screenplay by writer-director, Oz Perkins (son of Anthony Perkins, horror-menace influence) introduces the touch of the supernatural as Longlegs is a Satan worshipper.
Harker is very serious about her role with the FBI and her investigations, her powers enabling her to decode strange letters in messages left by Longlegs, to work out his motivation, to lead to his arrest. But, she has her own difficulties in her relationship with her mother. And this will be integral to the development of the narrative.
While there are some very eerie moments, a sense of menace, the advantage of the screenplay is that there is, eventually, a coherent explanation of each of the characters, their interactions, the influences, leading to a dramatic finale that may or may not bring Longlegs’ activities and influence to a close. (And a recommendation that the film is best seen in the darkened cinema.)
Rialto
Released 18 July