tgmacman’s review published on Letterboxd:
Like a lot of people, I too have fallen into the cult of Nicolas Cage. His manic energy, his Nouveau Shamanic acting method, his pure screen presence. All of which adds up to a performer that is so wholly idiosyncratic and elevates interest in any scene he's in. Now, that's not to say he improves any scene he's in, otherwise I'd think "Deadfall" is a cinematic masterpiece. But he sure as hell makes everything his own, including relishing playing a Satanic serial killer in "Longlegs." The question being, does it all work here? Yes and no. On the one hand, the movie wants him to come off as disorienting and unnerving, as evidenced by his unrecognizable and haunting makeup. On the other hand, his outbursts tend to be more amusing than terrifying, especially if you're already familiar with them. So in a very dour and serious horror-thriller like this, less could definitely be more.
But whereas Cage may be relatively new to this kind of genre, writer-director Oz Perkins certainly is not. Being the son of Norman Bates
himself, Anthony Perkins, Oz is essentially born from horror royalty, and has been amassing his own presence in the genre behind the camera in recent years. But his efforts have haven't yet lived up to that kind of legacy. Some will say "Longlegs" is that splashy arrival, but I'm not yet convinced. It's certainly another step in the right direction, I having previously seen "The Blackcoat's Daughter" and "Gretel & Hansel," but I'm still waiting for that horror classic that I know he has in him.
What keeps me of the belief that "Longlegs" is Perkins's best feature yet though is its excellent sense of atmosphere and dread. Granted, that's always been Perkins's strength, but it's even more pronounced here. The film being set in the 1990s, it doesn't take a lot to see the "Silence of the Lambs" inspirations. But the film doesn't let that be arbitrary window dressing. It all combines to create a solid aesthetic that contributes both to the mood and intensity of the piece. And Perkins is such a good technical director that no one scene feels lacking from that standpoint.
However, Perkins's weakness in my opinion continues here, that being on the writing side of things. Much like with "The Blackcoat's Daughter" and "Gretel & Hansel," I'm left scratching my head at what the point of all the assured filmmaking is. Despite all the Satanic motifs permeating the plot, there remains next to no thematic sustenance to this film. Couple that with very little character foundation and development, and there's not a whole lot to grapple onto as an invested viewer. It remains a fairly empty experience, and for a film that is dedicated to the slow burn approach to a fault, that absence stands out even more. Namely, it allows a 101-minute movie to feel like a 131-minute one.
To get more specific, there are more than a few plot machinations that don't entirely make sense, even as a character is expositing them. Not in a plot hole kind of way, but in a why-was-that-creative-choice-made one. For instance, the finale in particular falls flat due to the inactivity of our focal point character. Despite all the terrible foreknowledge of what's about to happen and being more than capable of preventing it, they simply stand by and allow it for no discernible reason.
Again, "Longlegs" is well shot enough to make it worth a watch. But if that's not enough for you, then the Nicolas Cage scenes are still a must-see on YouTube clips or something when this film becomes more available.
