In the chilling thriller ‘Longlegs,’ Maika Monroe cuts like a knife | Jake Coyle / The Associated Press

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A chilling, half-remembered encounter from childhood looms over “Longlegs,” Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.

A chilling, half-remembered encounter from childhood looms over “Longlegs,” Osgood Perkins’ stylishly composed 1990s-set horror about a young FBI agent whose past seems to hold a key to a decades-long serial killer suburban spree.

Twenty five years later, that girl is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.

Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him.

Perkins , is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of “Psycho.” The roots of “Longlegs,” which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce “Longlegs.” Its sense of horror seems to come mainly from little besides other movies.

 

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