Oz Perkins, the director, cements his place in the horror genre with a chilling police investigation that hides an unspeakable secret
While Oz Perkins might not be as prominent as other directors in the new wave of horror marked by films like “Hereditary” and “The Witch” he has been quietly developing his unique vision of evil through movies such as “The Blackcoat’s Daughter” and “Gretel & Hansel.” With “Longlegs,” premiering in Spain on August 2, Perkins solidifies his reputation as a master of subtle horror. This twisted satanic panic nightmare, disguised as a crime thriller in the vein of “Red Dragon” (2002), showcases his expertise.
In his latest work, Perkins uses the conventions of the crime thriller genre, inspired by Thomas Harris, to create a terrifying visual experience reminiscent of “Sinister” (2012). Nicolas Cage’s performance, destined to generate significant buzz, is a major highlight. The film’s investigation unfolds in a “Zodiac” (2007) style, with the killer’s symbols engaging the police in a complex game. The resolution of the mystery becomes secondary as the film’s dense atmosphere and the constant presence of lurking evil captivate the viewer.
With vintage textures, a ’90s setting, and Maika Monroe solidifying her status as the most elegant scream queen of recent years, “Longlegs” puts the audience on edge from the start. Meticulously crafted, the film may not entirely match the promise of its trailers an impossible feat given its exceptional marketing campaign but its mystery leaves a lasting impression and discomfort long after the credits roll.
Comparable to “Prisoners” (2013), “Longlegs” fits within a police thriller genre with supernatural elements, making it a true work of pure horror. It shows that the influence of “The Exorcist III” (1990) is more significant than often acknowledged, and “Longlegs” could be one of its most advanced successors. Its atmosphere touches on evil, with confrontations between police and killer, a sense of something beyond the protagonists’ control, and an intense final climax.
Cops versus the devil
The “cops versus satanic cults” subgenre, stemming from the sequel to Friedkin’s classic, also echoes in films like “Cobra” (1986) and “The First Power” (1990). Perkins, however, adopts the slow-burn approach and intricate plot details reminiscent of Kurosawa’s “Cure” (1997) to expand his macabre vision, incorporating elements already familiar in his work, such as distant sinister silhouettes and occultist symbols, particularly triangles, creating a cohesive universe.
While some performances are uneven, the script has rough patches, and there are a few mismatched jump scares and unnecessary final exposition, these issues are minor. The most controversial element is Cage’s performance, which, despite its extremity and somewhat caricatured portrayal (reminiscent of Joaquín Reyes’ Celebrities), might provoke mixed reactions.
Horror in the dirtiest ’90s suburbs
Nevertheless, Cage’s grotesque character shares more similarities with the killer from “Black Phone” (2022) than initially apparent, both displaying a peculiar pallor and suspicious fixation on children. Both films use moments that raise alarms, adopting the “stranger danger” aesthetic and a setting in panic-prone suburban times, even utilizing a change in aspect ratio and occasional vintage aesthetics
The best part is that Perkins confidently distinguishes his film from its influences and references, delivering a genuine horror film that no one will mislabel as a mere thriller due to its police investigation framework. There are no half measures; despite not being explicitly “gore,” its second-half surprises complete the puzzle in unexpected ways.
“Longlegs” lingers in the mind for days, a rare achievement in the genre. It accomplishes much with a modest budget and proudly prioritizes horror over being a police thriller. This unexpected, almost countercultural film, even after solving many of its mysteries, leaves plenty of room to expand its universe of sinister silhouettes, eerie noises, and symbols, painting U.S. neighborhoods as realms open to nightmares and inexplicable boogeymen
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