It is the dog days of July. You may have noticed that it is absolutely horrendous outside. The oppressive heat breathes on everyone with overbearing force, while the sticky humidity creates a swamp-like environment that leaves me yearning for air conditioning. In times like these, the movie theater offers an oasis of breezy comfort.
Studios continue to release new movies at a breakneck pace, so here are some quick thoughts on the latest marquee titles.
“Longlegs”
Synopsis: FBI agent Lee Harker is assigned to an unsolved serial killer case that takes an unexpected turn, revealing evidence of the occult. Harker discovers a personal connection to the killer and must stop him before he strikes again.
Similar to chilling detective procedurals like “The Silence of the Lambs,” “Longlegs” delves into an ominous morass. Writer-director Oz Perkins sets an unrelenting tone from the start, gradually descending viewers into the sadistic hellscape of a mystifying murder spree. The film’s nightmarish imagery, drawn from the horrors of satanic musings, has quickly captured the zeitgeist, transforming a seemingly niche arthouse movie into a social media lighting rod.
Does “Longlegs” live up to the hype? Not quite, but it still satisfies as an arresting crime saga. Perkins, the son of Norman Bates actor Anthony Perkins, is undoubtedly a visionary to the watch in the horror sphere. His poised framing lingers from one blood-soaked sight to the next, striking with a blunt force that reinforces the material’s solemn undertones. Perkins also exudes remarkable patience in his approach. The material never strains itself for shocking moments; they are well-balanced by an equal embrace for introspective character moments.
When striving for grander heights, “Longlegs” falls short. I give stars Maika Moore and Blaire Underwood ample credit for commanding the screen in their soft-spoken roles. Moore is particularly brilliant, quietly deconstructing decades of trauma as she pieces the puzzle together.
Still, the actors are left carrying the dramatic burden. Perkins’s screenplay never unearths any compelling insights; he spins a familiar meditation on generational grief that never rises to the visceral craft on display. This fact is not helped by co-star Nic Cage, who I feel is miscast as the deranged Longlegs. Cage’s energetic shtick represents a strange clash with the subdued tonal approach here.
“Longlegs” is more of a mixed bag than a future classic for me, yet the experience still conjures enough menacing midnight movie madness to please diehard horror fans.
“Inside Out 2”
Synopsis: Emotions Joy, Sadness, Anger, Fear and Disgust have been running a successful operation inside the mind of the adolescent Riley. However, when puberty strikes, new emotions, like Anxiety and Ennui, pose a significant change to the emotions’ status quo.
In 2015, Pixar struck gold with “Inside Out,” a family film that ingrained audiences inside the complex human mind. “Inside Out” not only charmed with its colorful imagination and inventive animation. It also extracted moving sentiments about coming of age with our emotions, casting that unique magic that makes Pixar such a beloved studio.
Like many long-awaited sequels, “Inside Out 2” rests in the shadow of its predecessor. The creative glow is not quite as luminous here. I do think this sequel falls into the common trap of confusing a grander scope for a better experience. The chaotic crowd of existing emotions and newly introduced characters creates a hodgepodge of half-shaded figures. This sequel lacks the succinct arc that elevated its predecessor to loftier emotional platitudes. “Inside Out 2” also lags in its laugh output, mainly because the concept just does not feel as fresh as it once was.
“Inside Out 2’s” common case of sequelitis does not dampen the entire experience. I still think Pixar is remarkably savvy at extracting poignancy from fictional landscapes. The emotion character concept offers a perfect balance between childhood innocence and adolescent angst. When “Inside Out 2” finds its narrative wavelength, the film explores the adolescent milieu with a sensitive touch. There is resonance and retrospection in seeing a new world of powerful feelings confront Riley. “Inside Out 2” never treats this coming-of-age benchmark as a fluffy after-school special, always grounding its steaks in vivid moments many can relate to.
Even as a so-so base single for Pixar, “Inside Out 2” carries enough Pixar magic to elevate it past the familiar family film crowd.
“Fly Me to the Moon”
Synopsis: In 1960s America, sparks fly in all directions as marketing maven Kelly Jones, brought in to fix NASA’s public image, wreaks havoc on Apollo 11 launch director Cole Davis’ already difficult task of putting a man on the moon.
As a loose interpretation of real-world events, “Fly Me to the Moon” soars to the sky with noteworthy ambitions. Director Greg Berlanti and screenwriter Rose Gilroy devise a fascinating genre hybrid, a film that blends romance, satire and genuine reverence for a critical chapter in American history. If only these well-intended parts were assembled into a satisfying whole.
“Fly Me to the Moon” suffers from a failure to launch, although some components work in spurts. Stars Channing Tatum and Scarlett Johansson shine onscreen as the central odd couple of Cole and Kelly. While there is no nuance to either role (both characters’ backstory comprises only a few throwaway lines), both stars exude enough movie star magnetism to command the screen.
“Fly Me to the Moon” worked best for me when embracing its levity. Gilroy’s script dispenses biting observations with a razor-sharp tongue in depicting the time-honored war between innovation and commerce. Cole wears his undying dedication to NASA’s celestial science on his sleeve, while Kelly zeroes in on transforming the nerdy brand into a household sensation. Those opposing perspectives generate a few standout comedic bits, including several focused on the fake moon landing scenario.
Spurts of creative energy can only sustain “Fly Me to the Moon” for so long. As the bloated 130-minute runtime lumbers along, including a wildly overstuffed third act, the film’s lack of coherent vision becomes all the more glaring. Is this a sentimental romantic comedy with a yearning heart towards yesteryear? Is the film intended as a satire on the distortion of American values, all of which is ironically commercialized by America itself? Maybe it is an earnest historical retelling that presents an inside baseball look at a quintessential chapter in American history. The film dizzyingly varies between these concepts until the credits roll, never developing a clear vision for itself on the way.
“Fly Me to the Moon” soars in moments and stumbles in others. Ironically enough, this AppleTV+-produced feature is a better fit for half-engaged streaming viewers than big-screen audiences.
