jerrywright15

This is one of those films that remind you of the power of cinema. A methodically paced film that never fills slow or rushed but perfectly timed to fill every moment with a sense of curiosity and unease that eventually turns to morbid contemplation. Colin Farrell is an actors actor in every sense. He disappears into his role as an overly confident doctor with an odd bluntness and sort of a "bleh" approach to what initially appears to be a "bleh" suburban life. Barry Keoghan is simply a force. The foundation of the energy that we eventually watch him bring to "Saltburn" is evident in this role of Martin, a matter of fact teenager who seems to suffer from some form of social autism but in a strangely endearing way (can't help but appreciate a person who tells it like it is). The moment Martin reveals the hook of the film you are instantly immersed into the why, how and questioning the validity of what is happening to this family. The film never really ramps up, so much as arriving at the natural conclusion at just the moment that feels right, leaving you mouth agape as you witness the 3rd acts final shot. The tension is in the unraveling of the family and the reveal of who people truly are when faced with their own mortality. As we watch our protagonist father come to grips with the impossibility of the choice he faces, Barry's socially awkward "antagonist" delivers the perfect amount of reinforcement of the dire stakes while covering it as faux moral justice, he even offers a painfully mouth clenching metaphor for us to witness. While a gigantic portion of the how these things are occurring is left unsaid (much better this way as the how becomes irrelevant) i still finished this movie feeling extremely satisfied, horrified and in need of a happy film cleanser. Excellent cast. Excellent story (although prepare for unending feelings of pity, dread and reoccurring thoughts of "what would I do?"). This film is a beautiful watch from beginning to end, with a director who knows what he wants from this story and how to craft the world that will best deliver it honestly.

Can we just stop for a second and applaud the marketing team behind, "Longlegs"? They have accomplished an incredible feat with this film in the way they slow rolled Nicolas Cage's character, the plot, and the tone of this thriller/horror film. The marketing tease of Maika Monroe's heart rate when she first meets Cage's character was brilliant and reminds me of similar ploys used for Paranormal Activity.

The Bad: Although this film is marketed as a violent, unnerving horror film, only 1 and 1/2 of these promises are fulfilled. What starts off as unnerving and tension filled quickly shifts tone as Cage's zany character makes his debut and humor begins to undercut the locations and story. Although not intentional, Cage has a way of playing over the top characters where it slips into the familiar wild, rock n roll, archetype that fans of the man will recognize. As he rattles off satanic poems, and devilish plans, you can't help but chuckle at the lack of fear or power, outside of his look, this villain exudes. The horror of the film, if you can call it that, is very similar to Blackcoat's Daughter (obviously same Director) where the start is more promising than the conclusion. Maintaining the atmosphere and edge of your seat thrill that a Sinister or Conjuring does so well seems to elude Director Oz and that may be from the director carving out his own style that is not fully horror or complete thriller but his own unique blend. The detriment to this blend is that the marketing will mislead many fans of horror and thriller expecting a masterpiece in either and getting something middling for both instead. Rarely, if at all, will you feel the fear the trailer suggests, or witness a great serial killer hunt, you understandably believe will occur. The story is also a slight letdown as we witness a superb buildup of mysterious, violent murders, a twinge of supernatural possibility, being investigated by an off-kilter FBI agent (she'd fit right in Twin Peaks) in a gloomy town. What unfolds is a plot that halfway through says forget the logic, forget the hunt, forget the trust you've put into me to deliver a satisfying conclusion, here's a half baked reason to explain it all, will be confusing, and explained through an odd effort to connect the villain to the main character. (double down on supernatural mumbo jumbo something about dolls) But wait...

The Good: There is a lot to love here. The beauty of this film is in the charm (odd I know) of this place we're brought to where the weird, violent, and comedic blend together to create a world of intrigue. This film gives an air of Twin Peaks, less forest small town and more somber forgotten suburbia, they both provide a sense of grounding in a story that asks you to hold on as it goes off the rails. Maika Monroe as the lead FBI agent is a scene chewer. Incredibly gifted at portraying our heroine dealing with inner demons and unexplainable (it is eventually explained) paranormal abilities that can make her a stellar agent but awkward house guest. I love her in this role and would happily watch her return to it in a film, or even better, a new TV show. I wish they had given her more to work with in the 3rd act but what she is given, she sells. To 3rd on the call sheet, Blair Underwood, a steady applause for portraying our senior FBI counterpart who balances out Monroe's oddity and is the perfect sane window, provided to us, to this world. The 3rd act returns him to a familiar role (if you're familiar with his work in Tyler Perry films) and it adds to the hilarity of the scene, whether good or bad, certainly enjoyable. Finally, we have Cage, who although I believe is still recognizable in his actions and mannerisms, provides an entertainment to a film that only he can produce. There is a reason there is a fictional movie based off the absurdness of his life, that he then stars in. He's just bigger than any character and often makes you smile when he graces the screen, even if it removes the malevolent gravitas of our villain. Ethan Hawke makes you dread him in Black Phone, Ralph Fiennes unnerves you in Red Dragon, Kevin Bacon makes you hate him in Sleepers...Cage...well, Cage just makes you smile.

Overall the film is a good watch. With odd beauty and promise in its, direction, cast and setting. The marketing was a masterclass but also it Achilles hill as going in with expectations will hurt the ride due to its unfulfilled promise of terror and lack of clean storytelling. Unlike the attention grabbing word of mouth and bolder trailer letters screaming at you to go watch the best thing since Silence of the Lambs, after watching the film I just don't see the hype.