Jacked In Reviews ‘Longlegs’ (2024)

We open on an Oregon farm in the dead of winter through the POV of what looks like a ‘70s home video. A young child has a run-in with a rather unsavoury individual – who is even too tall to fit into the frame. The stranger addresses this by stating “It seems I wore my long legs today” before squatting to reveal their haunting face. And with that, the antagonist of Oz Perkins’ (son of infamous horror legend, Anthony Perkins) tale is introduced in the form of Nicholas Cage’s (like you’ve never seen him before) Longlegs.

Following socially awkward, yet intuitive FBI agent, Lee Harker (Maika Monroe) on the hunt for an individual who has left a trail of numerous dead families, devastation and a bunch of head-scratching police in their wake over the years. The puzzle is due to – aside from a calling card signed ‘Longlegs’ – no evidence of this serial killer ever being present when the atrocities are committed.

What should be applauded is the movie’s constant eerie undertone and ability to keep you unsettled throughout.

Not relying on cheap jumpscares, the more frightening aspects come in small doses, adding more weight to the terror. In fact, apart from the third act’s somewhat ambiguous finale, “horror” may not be the main label to slap on this film – as it is very much a crime, thriller for the most part. Masterpiece may be a bit too strong of a word but what should be applauded is the movie’s constant eerie undertone and ability to keep you unsettled throughout.

Tonally, you can see why this feature has been compared to Silence of the Lambs. Even like other ’90s detective thrillers, such as Fargo, it’s similarly paced with resembling choices in cinematography. Not to mention having a smart, determined female police officer at the forefront. In short, it’s no coincidence the decade in which it’s set.

Perkins’ style could be more akin to the likes of filmmakers such as David Lynch, trying to convey a feeling rather than a specific narrative.

However, unlike its ‘90s predecessors that were in a similar vein storywise, Perkins’ style could be more akin to the likes of filmmakers such as David Lynch, trying to convey a feeling rather than a specific narrative. Regardless, there is a lot of fun to be had with these characters and you’re invested in their world from start to finish.

Although the clairvoyance aspect of Harker gauges intrigue, her anti-social qualities entertain the most and this is all executed brilliantly by Monroe. A nice tilt of the cap also goes to Harker’s superior, Agent Carter (Blair Underwood), commanding the room with only a few words and an authoritative ambience that surrounds his character from head to toe.

Notorious for his ability to unnerve and entertain simultaneously with his infamous “Cage-isms” it beckons the question of why Cage has waited this long to slide into this kind of role.

Last but certainly not least, with a voice that gets under your skin and presence that creates discomfort – and yet you can’t look away – the main attraction of this film is Longlegs himself AKA Dale Cobble AKA Nicholas Cage. Notorious for his ability to unnerve and entertain simultaneously with his infamous “Cage-isms” it beckons the question of why Cage has waited this long to slide into this kind of role. A testament to the veteran of cinema – despite having very little screen time – Cage’s Satanic Cobble will be who you talk about long after the credits have finished rolling. Taking his place alongside the likes of Buffalo Bill, John Doe and many more of the cinematic serial killer greats.

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