The serial killer movie doesn't play by the audience's rules.
Longlegs opens with a station wagon pulling up to a snowy farmhouse, with the aspect ratio of the footage replicating that of an 8mm camera. Despite initially seeming like it is a vintage home movie, the camera begins to pan in odd ways, immediately breaking the assumption that we're looking at handheld memories from a bygone era. A young girl exits the farmhouse to meet her guest, though that guest plays an unexpected game of hide and seek.
One thing that has been evident throughout Perkins' entire career is he will entice viewers with an experience that seems familiar on the surface, only to take it in entirely different directions.
Echoing the visual detachment of Longlegs is the script itself, which similarly offers stilted and sparse dialogue that makes every character feel uncomfortable in their own skin. Underwood's Carter is easily the most realized character in the movie, while Harker, Longlegs, and Harker's mother Ruth all speak less like actual people and more like trying to remember conversations you had in a dream.
Between the premise and the setting of Longlegs, it's going to be hard for audiences to not draw direct comparisons between the movie and seminal serial-killer stories like The Silence of the Lambs or David Fincher's Seven .
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