Longlegs Review – Maika Monroe and Nicolas Cage Shine in Brooding Horror

Her FBI colleagues describe Agent Lee Harker (Maika Monroe) as “highly intuitive,” a term that carries an eerie undertone. Harker might shun social interactions, preferring the solitude of her cabin, but she excels in reading crime scenes with uncanny precision. However, this ability is inconsistent, surfacing occasionally. Nonetheless, Agent Carter (Blair Underwood) believes that “half-psychic is better than not psychic at all.” Known for his optimism, Carter recruits Harker to tackle a perplexing cold case, hoping her skills will revive the investigation. Little did he know, her involvement would draw out the sinister figure known as Longlegs (Nicolas Cage), a creepy, glam rock-obsessed man implicated in numerous mass murders over several decades.

This setup forms the core of the eagerly anticipated new film from Osgood Perkins, known for creating atmospherically dark tales like Gretel & Hansel and I Am the Pretty Thing That Lives in the House. Longlegs is a grim, stylish FBI procedural with mystical elements. It has been hailed as the next The Silence of the Lambs in some corners of the internet, though such high praise may be an overreach.

Longlegs doesn’t belong in the same category as Jonathan Demme’s classic or even Seven, another common comparison. One weakness is a certain blunt exposition in its third act. Still, the film has much to offer, from its brooding atmosphere to the high-caliber performances. As Carter might say, “half-great” is still worth noting.

Maika Monroe is one of the film’s biggest strengths. Known for her roles in It Follows and Watcher, she stands out among her generation’s finest genre performers. Her character, Harker, is antisocial and comfortable in her own troubled thoughts. Nevertheless, she’s a focused agent, more at ease dissecting a serial killer’s patterns than mingling at a bar.

Monroe’s portrayal shines when Harker deciphers the killer’s coded messages, revealing a pattern connected to an inverted triangle, a symbol of occult importance. This sharp eye for detail not only shows Harker’s dedication but also highlights Perkins’ knack for striking visuals.

At first, the film’s obsessive emphasis on symmetry within each shot and its switch between aspect ratios—from home movie-like boxes in 70s flashbacks to widescreen for the 90s main story—grabs attention. Once Harker identifies the satanic symbol, triangles and angles fill the screen, hinting at a deeper, darker narrative. Even the story’s structure is triangular, divided into three distinct chapters, each unfolding consciously and meticulously.

This meticulous framing is particularly effective in introducing Longlegs. Initially seen from a child’s perspective, his eyes hidden, we’re left to focus on his mouth and the disturbing voice that emanates. Nicolas Cage, with a ghostly pallor and frenzied demeanor, has never been more frightening.

However, this introduction also points to one of Longlegs’ weaknesses. Having crafted a potentially iconic horror villain, the film dilutes its menace by adding secondary malevolent characters, none of whom are as terrifying as Cage’s portrayal. His haunting rendition of “Happy Birthday,” delivered with a maniacal cackle and rubbery prosthetic face, overshadows the film’s bloody final act, rendering it less impactful.

Despite its flaws, Longlegs remains a captivating watch, thanks largely to its visual storytelling and Monroe’s standout performance. Perkins’ film may not live up to the lofty comparisons it’s drawn, but it carves out its own place in the world of atmospheric horror thrillers.

Source: The Guardian