39/13

While chasing a serial killer, an FBI agent uncovers a series of occult clues that she must solve to stop his terrifying killing spree. Many of Longlegs’ encrypted messages contain spelling mistakes and poor grammar after being decoded. This is an homage to the Zodiac Killer, who was also known for his coded messages containing typos, which often made it harder to decode his message. Although the film is set in the 1990s, the “The Price is Right” theme that can be heard on television is the version that has been used since 2007. Longlegs: Oh! There she is! The almost birthday girl!. The credits roll backwards (from top to bottom), perhaps to be consistent with part of the storyline. Featured in Tyrone Magnus: LONGLEGS – Official Trailer – Reaction! (2024). Ding DongPerformed by Nicolas CageComposed by Osgood Perkins. It’s hard to imagine a better promotional strategy than the one Neon production company used for Osgood Perkins’ “Longlegs.” Their guerrilla marketing tactics, centered around clips, images, and powerful and vague coded messages, made Perkins’ entertaining, if far from magnificent, horror film a must-see. Speculation and interest ran high before its release, as no one knew exactly what it was about, only that it looked terrifying. The film follows Lee Harker, a new FBI agent who possesses some sort of psychic ability. After proving herself in the field, she is assigned to a series of murder-suicides. They go back some 30 years and are linked by coded letters found at each scene, signed by a mysterious figure calling himself Longlegs. As Harker investigates, it becomes clear that she has a personal connection to the case and that the devil may be in the details. It’s a tense, heady film that, at its best, is reminiscent of The Silence of the Lambs or the work of David Fincher. For the first two acts, Perkins keeps events moving smoothly, slowly drawing viewers into an atmosphere of pure terror. Terror lurks around every corner, and the innocuous—open doors, snowy fields—become a vector for horror. Alongside cinematographer Andres Arochi, Perkins ensures that, visually, the film is a masterpiece of the macabre. Arochi makes excellent use of low angles, giving viewers a hunched-over perspective, as if cowering in fear. The sky and ceilings dominate the frame, oppressively trapping you in with no escape, while the dim lighting used throughout the film casts a palpable gloom over the events, accentuating the darkness of Perkins’ narrative. Danny Vermette’s desolate production design adds to this immersive despondency, which is compounded by Trevor Johnston’s minimalist set decoration. Moreover, the sound design is evocative and startling; every scene boils with an electric current of unsettling agitation. The sounds don’t jump out at you, they grab you by the shoulders, giving you a brief, brutal shock. Furthermore, Elvis Perkins – working under the name Zilgi – creates music so chilling that it would be hard to forget even under the deepest hypnosis. Moreover, it’s a very well-edited film – at least for the first two acts – moving at its own pace through a quagmire of menace and unease. Unfortunately, however, it’s not without its problems. The mystery of Longlegs and the murders is so gripping and so effective at instilling fear in the audience that the final act, when all is revealed, is a bitter disappointment. For some reason, Perkins suddenly adopts a “tell, don’t show” attitude, giving his audience poorly executed exposition that exasperates rather than enlightens, followed by a clichéd ending that seems lifted from another film. Moreover, a cynical critic might suggest that there are a few elements too many in his story, meaning some get lost along the way: notably Harker’s psychic abilities.

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