George O’Mahony’s review published on Letterboxd:
2024 has found a new way to frustrate me.
Just like everyone else, I felt obligated to include the difference between this film and what the marketing campaign was telling us; only people that know me quite well will fully understand how rare it is that I went to a horror film on my own, so the fact that the result of literal months of this film pulling me by an invisible rope in its direction was so futile is truly disappointing. Longlegs is a film of two halves; the first half won my approval by having an intriguing narrative, an impressive performance from Maika Monroe, and an enticing directorial style that not only mimics but improves upon another horror film I don’t like, Hereditary; despite being generic in parts, most of Longlegs’ first half felt quite fresh and logical; but then any aforementioned approval was lost in the back half. The film simply goes off the rails, bringing unnecessary and utterly confusing absurdist qualities to a previously grounded story that could’ve done fine without any of it; then, the face of Nicolas Cage’s titular character is finally introduced and his performance acts as a textbook example of why this entire film feels so underwhelming for me; if the marketing campaign felt so new, how on earth could the film it was prefacing feel so derivative and nonsensical? As I was sitting in the cinema, watching the Twisters trailer on a big screen for the fourth time this week waiting for Longlegs to start, I think I was more scared by the idea of what the next 100 minutes of cinema had in store for me than by anything that followed the studio titles sequence; I’m sure it’ll work for some people, but I’m certainly not one of them.
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