Longlegs

Longlegs

linearity absent of the shrouds of ambiguity or a dedication to the texturized filth this so cautiously and claustrophobically follows behind, slow-stalking in a constant back-of-the-head POV that insinuates we’re to catch up to a narrative and the ensnared characters before abruptly catering to the cardinal sin of the thriller’s third-act exposition dump and coinciding banality found all too frequently in modern genre pieces. Longlegs looks and sounds pristine, and Maika Monroe’s shaky, edge-of-meltdown fragility bodes well with Cage’s mania, no matter the unusually minimal screen-time he’s given—the problem lies not in its dreary, sluggish demeanor, but in the ultimate disinterest in straying from the path and providing more than what’s preordained and residing on the surface, sparing itself from the nitty-gritty and gliding frictionlessly into what somehow becomes woefully predictable and symmetric - as incessantly exhibited in Perkins’s filmic language - even before it spills itself clean and dry. much like The Blackcoat's Daughter, this entangles itself in a web of a gradual lack of inadvertent seriousness that clashes with the suggested malevolence, bubbling-up with/to head-scratching occultism synonymous for the robbery/plasticizing (or, perhaps porcelainification) of youth instead of just letting this roll as pure, coldblooded serial cruelty with a mystery to either uncover intrinsically, or leave undisclosed—a sinful devolution and deterioration of form of what deserved to be the promised skin-picker of the 2020s.

2020s / Neon / Enter the Void: Intro Credits

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