Sunday, July 14, 2024

Longlegs

 



Longlegs

2024

Director- Oz Perkins

Cast- Maika Monroe, Blair Underwood, Alicia Witt, Kiernan Shipka, Michelle Choi-Lee, Nicolas Cage

            A series of brutal murders have taken place where entire families have been killed. The killer has left behind no physical evidence save only a coded message signed “Longlegs.” Enter onto the scene Special Agent Lee Harker (Maika Monroe}, a FBI agent with precognitive psychic abilities.

            Her boss (played by Blair Underwood) is looking for a serial killer but Harker believes. that there may be some larger conspiracy at work. As Agent Harker delves into the case, she has visions and flashbacks that indicate that she may have a personal connection to the killer. She eventually encounters a satanic dollmaker (Nicolas Cage). As she pushes on with the case, the truth, and the full horror, is finally revealed to her.

            In the publicity for the movie, Longlegs has been repeatedly compared to Silence of the Lambs, but other than the protagonist is a female FBI agent, the films have little in common. Lambs is a very down to earth police procedural. It’s the realism and believability that gives Lambs its power as a horror movie.



            Longlegs, on the other hand, has obvious supernatural elements, that are present from the beginning of the film. Its more in the vein of The First Power, Fallen or Exorcist 3 (though its not nearly as effective as Exorcist 3, few films are).

            If you are familiar with Oz Perkin’s other films, you know he’s good at creating a creepy, oppressive atmosphere. He also tends to go with ambitious ideas that aren’t necessarily easy to flesh out in a typical Hollywood movie run time. Perkin’s Gretel and Hansel, for instance, was far more ambitious with its subject matter than what it was able to achieve. In Longlegs, Harker’s psychic ability, for instance, isn’t that thoroughly explored.

          


      But Perkins is able to get really good performances out of actors, and that’s the best selling point of the film. Maika Monroe is very convincing as the tentative, often anxious FBI agent whose world starts unraveling just as she unravels more of the Longlegs mystery. Kudos to whoever thought of casting Blair Underwood. I guess to me he’s still the character from LA Law, but a quick review of his filmography shows that he’s had plenty of experience playing this type of character. Alicia Witt (who played Alia in David Lynch’s Dune) is convincing as Harker’s unhinged mother. Nicolas Cage is, well, Nicolas Cage.

            The most surprising performance though was Kiernan Shipka as Longleg’s one surviving victim, now driven insane and living in an asylum. As I watched the film, I kept thinking, wow she looks familiar, but it wasn’t until after the fact that I realized it was her. Oz Perkins must really know how to get the best (or maybe worst, as it were) out of Shipka. She made her horror debut with Perkins at the age of 15 in The Blackcoat’s Daughter, and she was pretty scary in that.

            An argument could be made that both Longlegs and Blackcoat’s Daughter take place in the same universe. They both revolve around satanic themes. Both have similar, albeit brief, depictions of the devil. In both films, the devil’s real power is in his ability to drive people to do terrible things.

            If you are looking for an occult thriller, Longlegs is worth a trip to theater. If you don’t get the chance to see it now, it will certainly be worth streaming this spooky season.




Thursday, March 28, 2024

Immaculate

 



Immaculate

2024

Director- Michael Mohan

Cast- Sydney Sweeney, Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, Simona Tabasco

            Sister Cecilia (Sidney Sweeney) is a young nun who has just arrived at a convent in Italy. The convent serves as a hospice and retirement home for older nuns, many that are close to death or who have developed dementia. The younger nuns, like Cecilia, take care of their elderly Sisters in their twilight years.

            After a short time in the convent, Cecilia becomes sick and it becomes quickly apparent that she is pregnant. After a rudimentary examination, her pregnancy is proclaimed a miracle, an Immaculate Conception. Cecilia is immediately placed in a position of reverence among the other sisters but the miracle begins to seem sinister and Cecilia starts to wonder what horrible thing has truly happened to her.

            The movie mixes equal parts religious trauma with body horror. Cecilia is quickly reduced to an unimportant object whose only value is in giving birth, regardless of her own desires or the dangers. Also, despite being in an environment surrounded by women, she finds herself at the mercy of men, as the Father, the Cardinal and the convent’s male doctor have complete say as to what happens to her.

Isolation, dogma, and hierarchy are used along with psychological gaslighting to create confusion and dread. The viewer knows that the truth, whatever it is, won’t bring relief.



            The film’s budget, though comparatively large by independent standards ($ 9 million) is still rather small by Hollywood standards. The film, which languished in development Hell for years, was saved by Sweeney’s recent Hollywood success. She had auditioned for the role years ago, and then ultimately became one of the film’s producers helping to finally get it off the ground, which makes this a bit of a passion project for her.

            It’s a very American film but has visible roots in Italian horror. First there is the location, with principal photography taking place in Rome and much of the dialogue being in Italian. The film further shows its love of Italian horror with a prominent use of Bruno Nicholai’s “Servizio fotografico” from the giallo, The Red Queen Kills Seven Times. There isn’t a lot of gore in the film, but what there is, is very graphic and Fulciesque with people’s faces being obliterated in a way that would have seemed natural in one of Lucio Fulci’s films. Also, though the film is not a gothic horror, it has a gothic aesthetic. Sweeney, walking through the darkened convent corridors with only a candle to guide her, clothed only in a thin white gown, looks very much the part of a gothic heroine.

            The film is a competent horror movie that most horror fans will find enjoyable, at least for one view. However, the story unambiguously deals with the very modern issue of reproductive rights, and there will be a few people who will identify very much with the protagonist’s struggle. I can easily see Sweeney’s nun taking her place alongside Florence Pugh’s Dani from Midsommar or Mia Goth’s Pearl, at least for the people who will identify closely with her.