Osgood Perkins is a filmmaker who has captured my attention, particularly due to his unique approach to directing. I once boldly placed his film I Am the Pretty Thing That Lives in the House among the best films of the year. I have eagerly watched all the films he has directed to date. Although the average rating of his four films would be a 5 out of 10 for me, I must emphasize that he remains an intriguing director. His latest film, Longlegs, was one of the most anticipated and striking works of the year. Indeed, its reputation preceded the film itself. I have always approached such films—those whose fame outstrips them—with a cool head, particularly festival films. I attempted to enjoy the film with all the composure I could muster, free from the influence of the hype. The result? I reaffirmed my stance that I should continue to treat such films with the same level-headedness. Longlegs, in my view, does not live up to the hype that surrounds it.
To briefly touch on the plot… Longlegs is a serial killer who somehow drives families to madness and forces them to kill each other, all without ever setting foot inside their homes. The FBI assigns Agent Carter (Blair Underwood) and the psychic Lee Harker (Maika Monroe) to the case. Lee, for reasons she cannot remember, has a personal connection to Longlegs and thus approaches the case with extra care. With her meticulous approach, she ultimately uncovers who Longlegs is and how he manages to kill people without ever entering their homes.
If I were to say that Osgood Perkins is a quintessential A24 director, I believe everyone reading this would understand what I mean. His style of cinematography, narrative structure, and approach to editing all deviate from classic storytelling, embracing a distinctive style of his own. Because of this style, he excels at building tension, a task at which Longlegs succeeds admirably. The film achieves its purpose particularly well by maintaining the mystery surrounding the eerie face of Longlegs, concealing it from everyone for an extended period. The details hidden not only from the FBI agents but also from us, the audience, throughout the film certainly piques our curiosity.
I must also extend my praise to Maika Monroe and Alicia Witt, who portrays her mother. Since her introduction to our lives in It Follows, Maika has continued to make films captivating with her eccentric face card. In this film, she once again succeeds in driving the narrative forward, portraying a slow-moving, traumatized character. Similarly, Alicia Witt, playing her mother, particularly shines towards the film’s climax, demonstrating how well she has embodied her role. Lastly, I must mention Kiernan Shipka. As one of the rare actors who can draw me to the cinema, Kiernan appears in a role unlike anything she has attempted before, and despite her brief screen time, she manages to mesmerize. Her use of language, in particular, crowns the scene.
My final praises for the film go to Nicolas Cage and the makeup department. Pre-release anecdotes piqued my curiosity, especially the one about Maika Monroe being frightened when she first saw Nicolas Cage. While the film may not live up to its pre-release hype, I wholeheartedly echo everything said about Cage—if not amplify it. His transformation is so profound that I didn’t even realize it was Nicolas Cage until the interrogation scene. I was so fixated on the idea that the second person mentioned throughout the film might be him that I failed to recognize that the character glimpsed in fleeting shots was, in fact, the real Longlegs. This is undoubtedly a significant achievement. As always, Nicolas Cage is magnificent. His recent portrayals of unique characters have elevated his acting career to new heights. I am confident Longlegs will remain a memorable character for years to come. However, despite the pursuit of innovation, they have once again included his signature scene in the film: the infamous car meltdown. In nearly every movie, at some point, Nicolas Cage loses his temper and pounds his car. This time, he has a similar outburst, but in line with his character, he expresses his frustration through song. Though the scene’s style remains unchanged, this can still be considered a form of innovation. Finally, I must say, Nicolas Cage singing is truly a terrifying experience.
Now, let us turn to the praises the film has received. As I mentioned earlier, Longlegs is effective at building tension. However, as the film approached its conclusion, it began to lose its impact on me. Although it thematically centers around a demonic tale, with the demon in the form of a ram intermittently fading in and out at certain points, the film’s eventual reduction of the plot to a mere doll weakened the tension that had been created, at least in my eyes. The revelation that the answer to the mystery of “How does he do it without entering the house?” is a magical doll dampened my excitement. Another aspect of films that I dislike is the sudden appearance of a key character essential to the mystery. The abrupt inclusion of Lee Harker’s mother into the narrative completely undermines the suspense that had been built around Longlegs throughout the film. While the concept of Longlegs as a character generates excitement, I found the execution to be lacking. By the film’s end, the trio of the doll, the mother, and Lee Harker should not have been the central threat we were left to confront. A character as terrifying and calculating as Longlegs should have been present until the film’s finale. Although I appreciate the visual aesthetics the film creates—particularly in the final scenes—as someone who enjoys depictions of violence in cinema, it is true that I lost all my excitement long before reaching the film’s climax. I had anticipated a stronger ending.
In summary, while Longlegs is a film rich in mystery, crafted with Osgood Perkins’ unique style, it gradually loses its narrative depth and tension as it progresses. Maika Monroe and Alicia Witt deliver commendable performances, and Nicolas Cage, in his unrecognizable form, creates a character that will undoubtedly go down in history as one of the most unique in recent years. He is a magnificent actor, always making the most of a good opportunity when it is presented to him. However, the film loses the mystery and tension it initially establishes as it nears its conclusion. The early departure of the main character and the sudden insertion of the true orchestrator of events towards the end is a style I find unappealing, leading me to slowly lose my interest as the finale approaches. Frankly, I can also say that I found the ending insufficiently striking. While the film is aesthetically and performance-wise exquisite overall, it loses its magic over time in terms of its narrative. Given the hype surrounding it, I expected a more powerful conclusion, and I feel compelled to reiterate that the early exit of the main character significantly diminishes the film’s impact.
Cast & Crew
director: Osgood Perkins
writers: Osgood Perkins
starring: Maika Monroe, Nicolas Cage, Blair Underwood, Alicia Witt
CANADA – USA | 2024 | 101 MINUTES |