Buick Audra, Nashville singer/songwriter and guitarist, released her fourth album Adult Child on June 13th. She writes for both herself and other artists, and is half of the musical duo Friendship Commanders with Jerry Roe. Her music has a unique style that emphasizes her written lyrics in a way that is reminiscent of something like spoken word poetry. For example, her third album Conversations with My Other Voice was released with a matching memoir of essays. But the production doesn’t suffer for this, instead changing intensity and even genre to match each song.
Adult Child continues this style, never staying in one place for too long. The album mostly fits into the indie rock genre, but songs such as “It All Belonged to Me” are more folk-inspired. Songs like “Birthdays & Bullshit” are full of rage and dominated by drums, but there are several moments on the album where it’s just Audra and her vocals.
At its core, Adult Child is about family and relationships, and the patterns and cycles that we repeat in our lives from our family. But the takeaway from the album is that our origins don’t define us, and we can choose to form an identity all our own. Buick Audra touches on her own estranged relationship with her family, and the album’s title Adult Child reflects the expectations and responsibilities that were placed on her as a child.
“The Worst People Win” is the first track on Adult Child and “Questions for the Gods of Human Behavior” is the lead single off of the album. They serve as the intro into this album for us listeners, and these two songs are instantly relatable to almost anyone. “The Worst People Win”, like it sounds, is about the “fact of life” that the worst people in life are often the most successful. That is insanely relatable to myself, and I’m sure that almost everyone has had a moment in their life where this “fact” comes up. “Questions for the Gods of Human Behavior” looks more inward, questioning why we as humans repeat behaviors that hurt us–also probably a relatable idea for many. These songs also provide an introduction to the indie rock production of the album, which is mostly drums and guitar. Both songs utilize these instruments to provide tension to match the themes of the songs.
“Yellow” takes a turn away from the first two songs to look at Audra herself, and about how she’s internalized what other people have said about her. Again, the production echoes this shift, as the focus is more on Audra’s vocals, and the end totally strips the production down to just a percussion beat and Audra’s vocals. The lyrics repeat three times, with each repetition increasing the layers of her vocals.
“One-Step Close-Up” goes in a different direction again, being a more upbeat song off the album. It uses photography imagery to convey the theme of Audra prioritizing herself rather than others. The fifth song “Birthdays & Bullshit” is the epitome of female rage. The drums are loud, louder than the rest of the album. The song is about the responsibilities that women are expected to have, like being in charge of birthdays. Like the rest of the album, these two songs reflect on Audra’s experience as an adult child and the difficulty that comes with breaking those expectations and relationships.
For me, “It All Belonged to Me” is one of the most devastating songs on this album. The beginning is almost ethereal, all plucky strings and humming, but it isn’t light at all. In this song, Audra writes about where she grew up, and about how she doesn’t go home anymore. “Losing My Courage” is also an emotional song and contains only Audra’s vocals. This song is about just wanting to be listened to–and by design, you as the listener will listen to Audra. It’s truly a beautiful and powerful effect.
As the only acoustic song on the album, “Firstborn” starts to close out the album on a more hopeful note. Like earlier songs, “Firstborn” touches on Audra building a life of her own separate from her past and her family. And like a mantra, the phrase “I got here on my own” is repeated several times. It’s a nice statement for the last “real” song of the album.
“A List” is not a song. Instead, we just hear Audra speaking. This track was recorded on a tape recorder, which does add another layer to her voice here. “A List” is directly about the two pieces that make up this album: Audra’s past and her future. The end also fades into “The Worst People Win,” a nice touch to wrap up this album.
This album serves as a reflection into what being an adult child was like for Buick Audra, and how it still affects her. However, within this reflection, there’s hope that she can and has built her life and identity on her own. The five stages of grief are a cliche idea, but they’re all present in this nine-song album, with acceptance being an essential part of Audra’s journey here. “A list” ends Adult Child with the click of a tape recording. Audra leaves uswith a sense of finality and the hope of moving forward.
Amid all the noise of a party back in 2022, the magnetism between two dreaming musicians, Marcus Gebauer and Jori Griffith, was too powerful to deny. The beauty of their meeting created a gradual collaboration which allowed them both to pursue their dreams. With the help of Mike Gruber on keyboard, Nicholas Kapche on bass, and Eric Matteson on drums, Blue Rose has brought us their debut album Blue Moon, released on May 30.
Blue Moon is a 12-track twister of folk, country, and rock. Filled with short and simple tales that take their time unraveling, we are reminded to slow down and stay in the present to enjoy things like seeing a local band or looking up at the sunset. Besides its relatability, this album evokes a keen sense of nostalgia for watching Hallmark movies with mom, or sitting by the fireplace on winter break. Our storytellers are Griffith’s vocals ranging from nasal croon to edgy twang, complementing Gebauer’s smooth yet gritty guitar from beginning to end. Both are certainly talented, but are far from finished finding the right sound.
“If I Had a Rose” is a cover of a 2019 duet sung by Bruce Robison and Kelly Willis. This is a clever way of introducing Blue Rose to the world, demonstrating their influences and style. However, this rendition is almost too smooth, as syllables stretch for miles in just one direction, taking away some of the rough country character of the original.
Leaning more into rock territory is track 2: “Let Me Love You”. The guitar on this one is electric and exciting, but Griffith’s vocals are out of a commercial jingle, complete with cliche ridden lyrics like “the blue sky’s so bright”. While the song is a fun one, it lacks depth.
“Let’s See a Band” has beautiful hints of Fleetwood Mac. Griffith’s crooning makes for an emotional listening experience that traps you in your seat. Sadly, the trance is broken upon hearing the overly simple chorus. This was a missed opportunity for a really powerful track as the music itself was near perfect.
Griffith brings the bluesy country feelings with “I’m So Tired”. This song is the most experimental track by far. Even though Griffith doesn’t sell her fatigue to the listener, she compensates by adding an intriguing muffled effect in the middle of the song. The lack of crispness adds a layer to the unfortunate message of the song overlaying the upbeat backing music.
Even sadder is country ballad “Remember When”, a generic, yet beautiful movie-worthy tune. Griffith makes ample use of scenic description, slowly and impressively planting a memory into the listener that they may never have experienced. “Remember when we thought we’d never die” is what I find to be the best lyric on this album.
Halfway through the album is title track “Blue Moon” which also serves as a theme song for this duo’s fateful relationship. The song really captures the continuing simple yet easily forgotten message of appreciating small moments. This one is somewhat of an evolution as it shies away from the cliched, and presents a better harmony between each element of the song. The changing layers of instruments parallel spectacularly with the repeated line “once in a blue moon”, developing a sense that time is changing.
“Life is Short” feels like the best of Taylor Swift’s early era. This is a true love song with a rare inclusion of multiple perspectives. Simple and sweet, Griffith skips the pettiness and gets down to what matters. While some lyrics are executed awkwardly, it’s easy to ignore.
“Somethin’ Good” is more relevant and relatable than ever, but not unique in any sense. Taking a page out of the rule book for new pop music, this song throws out short statements of feeling in a diary-like fashion. This song becomes more of an anthem.
Anything but slow is “Slow”. Although still a bit too smooth and commercialized, Griffith’s vocals are really special in this one, grounding the listener in the moment she is expanding upon. While it’s easy to tell this song is new, her voice is timeless.
The first few notes of “Dandelions” mistakenly had me thinking I was listening to a Jim Croce guitar riff. Griffith continues to use the same easy phrases like “above the clouds the sun still shines so bright”, but the way she changes her tone as she repeats them makes them more profound. This song truly sounds like a country poem.
“Just Like Sheryl” is my favorite track on the album. This song is different from all the others, serving as an origin story for Griffith with descriptions of her childhood muses Shania Twain and Sheryl Crow. The way she references their hit songs is cleverly interwoven with her own lyrics, humanizing the nearly anonymous soul we are listening to.
“Sometimes” is the final track on the album, contrasting the previous song as it represents Griffith’s quiet side. The final message from Griffith is one of patience, demonstrated through another simple yet magical love story. She expertly shifts from third to second person, revealing herself as the woman she describes being struck by love.
Blue Moon is a well-produced debut album which serves as a tiny nook of calm in the crazy state of life. While being light and fun, there is a sense of intimacy in each song, a feeling like you and you only are being sung to. Blue Rose doesn’t take itself too seriously, creating music that is hopeful and easily accessible. Most striking is the consistent depiction of senses and seasons which really make the songs what they are. Even the moon becomes a recurring character, bringing the title to life.
Blue Rose has a lot of room to grow, and a lot of emotion to tap into, but this is only the beginning. If you want to see this band blossom more, they will be touring throughout Illinois this Summer.
Festival season is upon us. Even if you aren’t braving a multi-day, camping festival on a farm (Hello, Bonnaroo!) or in the wilderness (Hinterland, we love you!), there are urban festivals (Lookin’ at you, Riot Fest!) and those tucked away in parks (Hi, Outsidelands!) all across the United States and beyond.
But with these events comes facing the elements. You have to make sure you are prepared for the weather, whether you like it or not. Here, TK products to take with you on your next festival adventure to keep yourself in good spirits.
magnum solace magnesium oil
Travel can lead to excitement, a difference in schedule, and irregular sleep. Camping outside can make it almost impossible to sleep comfortably.
For the moments where you could use a little help falling asleep, this magnesium oil is incredible. Spray the unscented oil on your arms, legs, or feet, and lay down to get one of the best rests of your life.
Erin Zimmerman sent this to me to help me keep my sleep patterns regular. I let a co-producer borrow this while they were on a consolidated schedule in a different time zone and she said she had never slept that well outside of her own bed.
drip drop electrolyte powder
No matter what you’re up to this summer, staying hydrated is key. I try a lot of different hydration beverages, and this one – so far – has been my absolute favorite. You can find DripDrop at Costco online, a 40 pack of watermelon and lemon/lime powders.
The watermelon tastes like a watermelon Jolly Rancher, and the lemon/lime option tastes exactly like Gatorade. They include no sugar, and 3x the hydration of some of your bulkier beverages.
five below honey & jojoba shimmer body oil
You can’t hit up a festival without a little bit of glitz. This natural body oil is packed with sparkles, but is also extra hydrating and has a light scent to it (nothing overwhelming). You won’t feel any guilt about spraying it on your décolletage, shoulders, and legs because it’s budget-friendly, at just $1 at Five Below.
trader joe’s facial spf
This sunscreen is silky smooth and easy to apply, the same texture and consistency as lightweight foundation primers. It is oil free, and won’t leave a cast or any weird residue. The size of the bottle makes it easy to keep it on your person at all times, which is great for re-application of the SPF 40 formula every 40 minutes as suggested.
At just $8, there’s no reason not to consider this.
supergirl! disco stick
If you aren’t immediately drawn to the glitter branding and the name of this product – anyone returning to the days of Lady Gaga’s single? – then you will be thrilled by the price. For just $5 at Five Below, you can grab this SPF 30 dry oil stick. Perfect for your décolletage, this unscented sunscreen is a bit of a highlighter for the skin. No weird, sticky, slimy feelings after application, either!
newman’s own organic herb blends
This may seem out of left field, but Newman’s Own recently introduced a tasty line of organic spices to their offerings. Lucky enough to have tried them recently, I can say with absolute certainty that keeping the Churro blend and the Citrus Herb blend on-hand can help add flavor to anything you may be eating. I might not pull them out at a fancy restaurant, but I would absolutely season my takeout, food truck findings, and camping-friendly items with them.
If you love tacos and intend to try some out, there is an incredible Street Taco blend that you might want to throw in your bag.
loop earplugs
I did not understand relief until my sister bought me a 3-pack of Loop earplugs. I got three different decibal protection levels, each in their own keychain carrying case.
The fun part about these earplugs is that you twist them into your ears, where they nestle well. Each pair comes with adjusters in small, medium, and large so you can fit them to your ears, reducing the common earplug issue of them popping out.
Now, I can protect my hearing against noise pollution at any point, I just need to reach down and grab them out of my keychain.
I can also drown everyone out with the noise cancelling attachments and the small carrying case the set came with.
arctic air breeze jet (air conditioner/fan)
I cannot gate keep here. The Arctic Air Breeze Jet is the #1 item to add to your festival list this year. This mini air conditioner/fan has 3 speeds and is relatively quiet, meaning it certainly won’t be an issue in a loud environment with your ear plugs in. It comes charged up with a USB plug that will easily get the battery back to 100% on-the-go. Clip it to your belt to get the airflow going up – and under your shirt, if you’d like – or attach it using the lanyard that comes with.
While I have listened to folk artist Jensen McRae’s sophomore album – which dropped in its entirety on Friday, April 25th – I Don’t Know How But They Found Me! in part a few times at this point, I have yet to sit down with the body of work from beginning to end. The album’s title itself is a Back to the Future quote, perhaps the standalone lighthearted aspect of this sonic adventure.
Here, my unapologetic thoughts as I experienced this heavy, beautiful 11-track masterpiece.
To note, the album was born from a period of time in McRae’s life and is semi-autobiographical. “More than anything, I am grateful to have made this album as a record of my transition into real womanhood,” she explains. “It’s me processing girlhood, with all its attendant naïveté and guilelessness and resistance to change, and emerging as an adult who is capable of forgiveness and transformation and measured optimism.”
The work begins with 2 minute, 48 second track “The Rearranger,” which effortlessly gives voice to the feeling of emptiness in a relationship (or, for some, situationship) that does not make plans. To me, this song is about a relationship that seems to have most everything you want, but feels slightly off.
“I Can Change Him” hit me the hardest on first listen. The song tells a story of a smitten relationship that can only get so far without forward momentum and change. We have all been in a relationship (or several) that presents its issues to work on together and through. The hope in McRae’s voice as the chorus comes in:
Maybe I, maybe I just love him Maybe I, maybe I just think All he needs is a little something Maybe that little something’s me Maybe I’ll be his exception And I’ll never be the same Maybe I, maybe I could change him Unless he doesn’t want to change
But you can’t expect yourself to be the change someone else needs in their life. They have to be willing to change, which is why the “Unless he doesn’t want to change” is so heartbreaking. It is almost as though, over the duration of the song, the narrator is coming to a slow realization that the only true thing she has change over is herself.
More heartbreak comes in third track “Savannah,” which was released alongside a Rena Johnson directed and produced video. The song – and its accompanying video – questions alternate life outcomes based on boundaries and how you make decisions in your life. You can acknowledge what once was and what could have been while also creating a life of your own design, and this song really drives that truth home.
Fourth track “Daffodils” examines a relationship plagued with substance abuse, the push and pull of the life that supports. From one line to the next, this dichotomy keeps the narrator in this cycle of bad to good on repeat, when everyone deserves better.
Anyone who has ever been a rule follower may identify with the lyrics of “Let Me Be Wrong,” which feels a bit revolutionary and positive when compared to its predecessors. The rasp in McRae’s vocals hits correctly at the end of the verses, as she encourages people to let her learn her own way. This song has Top 40 potential written all over it, something we can all get behind at the level of The Chicks or Shania Twain.
The cadence to this song is absolutely magnetic, as Jensen McRae sings “Novelty” with her velvety vocals. She tells it like it is in this track, fully aware that some people are into the novelty of a person, environment, or otherwise. And, worse off, she has been in this place before. Having any type of relationship with someone who isn’t invested in you as a human being can subdue the entire thrill of dating, and you can feel the ice and indifference as it comes to its conclusion.
“I Don’t Do Drugs” slows things down and simplifies them a bit. Singing of how healing isn’t linear, patterns permeate, and the familiar can be addictive, this is an eye-opening piece of art at just 2 minutes and 19 seconds in length.
After hearing “Tuesday,” I was wondering how Jensen could have possibly survived a one-sided relationship as severe is this — how anyone could. But this song also stirs up feelings in people who have felt unseen in their families, friendships, or romantic partnerships. With such conviction, this ballad is specific, intense, and relatable. Unkempt in some ways, it is tinged with fire from her emotions and the rasp in her vocals.
“Mother Wound” hits pivotal aspects of successful relationships — communication and expectation management (which, to its credit, comes from communication). For an artist who has referenced Biblical text and Jesus in other songs on this record, her ability to “read your cards right” and tap into intuition in other lines throughout this album encourages open-minded spirituality and trust, almost. This song is one of those times.
“Praying For Your Downfall” could be a take down track, as vindictive as I would be given the circumstances. However, the beauty in it is that she reads him for trash in the lyrics. Lines like “keep whistling, boy, I was never your dog” hit with an unrelenting attitude that she has more than earned. She repeats “I don’t need to see you fall down” as she releases her energy from the negativity. The bridge brings us out light as a feather, layered in a way you would almost expect from HAIM.
She ends the album with fan favorite “Massachusetts,” a track that gave her a little bit more momentum with listeners. The immediate reference to Batman hooked me when I saw her perform it on Kimmel (directly after Ben Affleck was a guest), but the idea of affiliating an entire place with a person is what kept my attention. As someone who has had the fortune of living in and traveling to many places, I associate these places with people and memories.
Every young relationship leaves stamps on your heart. Marks on your memory. But that doesn’t mean you have to keep it. You can keep the good, and release yourself from what belittled you and told you that you didn’t meet its expectations. This entire album is both a testament to the pain that so many people go through while they learn themselves and their partners, and a beacon for people who are nostalgic for sweet memories that didn’t necessarily pan out.
I Don’t Know How But They Found Me! is a massive feat of strength… for McRae and all of her collaborators. Listen to it dancing around your room on a rainy day, in an air conditioned metro car on your way to a weekend spot, or with the windows down in the sunshine. It will deliver an exuberance to your nervous system that outweighs the empathic, heavy nature of it all — and validates anything you have been through or are currently experiencing.
Jason Statham is back doing what Jason Statham does best: playing a seemingly ordinary man with extraordinary combat skills, an unshakable demeanor, and an uncanny ability to dispatch bad guys with ease. Unfortunately, A Working Man brings nothing new to the table, making it feel like a lesser version of his previous films, particularly The Beekeeper and Wrath of Man.
The biggest problem with this film isn’t just that Statham is on autopilot—it’s that everything around him is, too. The villains are so cartoonishly over-the-top that they never feel like a real threat. Instead of creating tension or danger, they come off as caricatures, making the action feel hollow. A good action film needs a strong antagonist to balance its hero, but here, Statham’s character is never truly challenged.
Another major misstep is how Statham’s character (whose name is so forgettable that I may as well just keep calling him Jason Statham) ascends the ranks of the criminal underworld. The way he maneuvers through their organization is so convoluted and nonsensical that it quickly becomes distracting. A good B-movie thrives on simplicity and tight execution, but this one gets bogged down in unnecessary complications that don’t add up.
Perhaps the most disappointing aspect of A Working Man is that it comes from director David Ayer, who has proven he can deliver gritty, engaging action with films like Fury and last year’s The Beekeeper. Here, though, the script’s glaring holes, uninspired storytelling, and lack of a real challenge for its lead weigh everything down.
While Statham has made a career out of playing the same type of character, this time, it just doesn’t land. There’s a fine line between consistency and stagnation, and A Working Man unfortunately falls on the wrong side of it. For longtime fans of Statham’s brand of action, this might still be a serviceable watch, but for anyone hoping for something fresh or engaging, it’s a letdown.
Have we mentioned that day 2 at Riot Fest 2024 was hot as hell? And The Hives had the audacity to come out on stage and act like we weren’t all absolutely falling over under the heat of the midday sun. In their full, black and white suits, they ran around the stage like it was the 90s, absolutely reinvigorating the worn-out afternoon crowd. Every single person who walked away from this set had a massive smile, which isn’t a common situation at a festival that melts faces like this one.
Setlist Bogus Operandi Main Offender Rigor Mortis Radio Walk Idiot Walk Good Samaritan Hate to Say I Told You So Come On! Tick Tick Boom Countdown to Shutdown
The best way to spend the sunset during Friday’s Day 1 at Riot Fest 2024 was at the Radical Stage at 7:25 pm. The legendary Cypress Hill took the stage to an absolutely insane crowd. It was our first set in the pit, since we came in on a train earlier in the day and took longer to adjust than expected, but it was a phenomenal way to start our Riot Fest weekend.
Cypress Hill treated fans to hits like “Hand on the Pump,” “Cock the Hammer,” “When the Shit Goes Down,” “I Wanna Get High,” and that was just within the first few tracks performed. “Insane in the Brain” and “Jump Around” made appearances as well, as they were played live and during (incredibly limited) breaks between acts.
On the night of August 15th, I went to The Anthem in DC to see the band King Gizzard and the Lizard Wizard. If you’re unfamiliar with them, they’re an incredibly popular Australian rock band made up of talented multi-instrumentalists Stu Mackenzie, Ambrose Kenny-Smith, Cook Craig, Joey Walker, Lucas Harwood, and Michael Cavanagh. One of their main appeals is their approach to genre and exploring as many sounds in their work as they can. Since forming in 2010, they’ve put out 26 studio albums (not to mention 16 live albums) that have ranged from psychedelia, various kinds of metal, progressive rock, synth-pop, sunshine pop, folk, and many more. Despite this, they still have a consistent “King Gizzard” sound that’s rooted in vintage psychedelic rock. Flight b741, which was released on August 9th, is another new musical avenue for them: an early 70s-inspired blues rock album with obvious references to The Rolling Stones and T. Rex. My brief review is that it captures the sound perfectly, with heaps of nostalgia to boot, but still provides plenty of hooks and fuzzy guitar riffs to keep it a consistently entertaining listen. Give it a whirl when on a road trip. You won’t regret it.
Okay, now back to the concert. This was the first show for their tour to support Flight b741, with the opener at this show being Brooklyn-based indie-punk band Geese. They proved to be a fitting match for King Gizzard, as their newest LP 3D Country features a classic rock sound similar to Flight b741, albeit with more country influence. I enjoyed their performance, though, with only the core members of the band, their sound was more alternative rock that doesn’t capture the roots-based atmosphere of the album. Still, they were fun despite the more stripped-back aesthetic. There were occasional unique touches like hand drums and smooth keyboard playing, and I gotta give props to their frontman Cameron Winter. He’s a very interesting and captivating presence, with an oddball southern yodel-ish twang in his vocals that stood out to me.
After Geese’s set, there was a 30-minute break so King Gizzard’s crew could set up. Right before their performance started, a message appeared on screen reminding the audience to have fun in the mosh pit but to look after each other and report anyone dangerous to security. I didn’t get close enough to mosh, but I’ve heard enough horror stories of audience injuries to know that the message was responsible on the band’s part. I should also note the atmosphere and the crowd of the show. There were lots of young people at the show, (more men than women, though still a decent mixture) around their 20s and early 30s. With the band’s decade-spanning influences, it also made sense that there were also some middle-aged and older people that were likely fans of similar bands such as Phish or The Grateful Dead. All the concert tickets sold out quickly, so the general audience pit on the main floor had to be packed tightly to accommodate everyone. From my firsthand experience, it smelled of sweat, pot, and alcohol the entire time. Still, that was to be expected from a crowd made up mainly of stoners wanting to mosh or get zonked out on hallucinogens.
King Gizzard’s main ethos seems to be that not only do they never repeat an album, they also never repeat a show. The band’s live performances feature lots of extensive jamming, allowing for the musicians to ride a groove and riff off one another with improvisations, giving the songs a different feel from their studio counterparts. While the jams of earlier shows may have focused more on heavier metal riffs (according to my friend, anyway. Shoutout Nayeli!), the ones this one had fit more with the influences on the new album and are more bluesy (featuring harmonicas!) with some fuzzy psychedelia and touches of funk. I’m a fan of extended performances of songs to ride out a groove to its fullest, but admittedly some improvisations could be too aimless and lengthy. They were fun, but it got to a point where I nodded off before things kicked back into gear. However, these jams are a staple of their concerts, and it may not entirely matter to you if you enjoy watching talented performers work their craft (or if you’re super high). I’ll also give the band jams credit for being more inviting to new fans that may not have listened to all of King Gizzard’s albums and giving them something entirely distinctive to their concert.
The band’s setlist was very diverse and featured 14 songs from their catalog within 2+ hours. This included three of the new songs from Flight b741, and songs from Omnium Gatherum, Ice, Death, Planets, Lungs, Mushrooms and Lava, Nonagon Infinity, and others. Despite each album representing a new era and sound, they all fit well together and never appeared too different from each other while still being distinctive. The funk grooves of “Iron Lung”, the raw acid flavoring of “The Dripping Tap”, and the last 30 minutes of the show with back-to-back metal songs (featuring fan favorites “Mars for the Rich” and “Supercell”) all shine brightly. What I admire about the band is their democratic approach to playing, with no member seeming more important than the other. Sure, Stu Mackenzie is their designated “frontman”, but each member gets time to solo, time to speak to the crowd, and opportunities to do what they’re good at. The concert closes on an intense and completely hypnotic drum solo by Michael Cavanagh at the end of “Gaia”.
King Gizzard provided and continues to provide wonderful concerts that rock out, all the while showcasing the band’s chemistry and never-ending talents as they continue being one of the best live acts around. I can’t recommend seeing them enough, whether it’s once or multiple times.
In the post-COVID era, it’s completely changed what it means to go to the movies. Nowadays, with ticket prices higher than ever and more audience members wanting to wait for streaming as opposed to going out, the few films that are successful commercially do so by either being a known IP or is an original that breaks through with their marketing. The former is obvious; as everyone knows that the highest-grossing films per year are sequels, remakes, adaptations, or connected to something recognizable. Yet for the latter, an original film that still makes its money back and gets people talking, it feels more like an event than a movie. Longlegs, the new horror film by Oz Perkins (The Blackcoat’s Daughter), was a movie that I saw simply because of how much I heard about it online. This came down to the film’s stellar reviews (being from NEON, an independent film distributor rivaling A24 as a stamp of quality for original work) and guerilla-style interactive marketing techniques that gave the film an unavoidable presence for film nerds like myself or otherwise.
Longlegs is a serial killer film that wears its references on its sleeve, with obvious influences in Se7en and especially The Silence of the Lambs. It stars Maika Monroe (It Follows) as a newly recruited and possibly clairvoyant FBI agent named Lee Harker in the early 90s (very Clarice Starling-like), assigned to investigate a decade-spanning case of a serial killer known as Longlegs. The killer, played by the always insane and polarizing Nicolas Cage, conducts brutal family murder-suicides, yet has no trace or imprint at each crime scene except for a note containing Satanic coding and his signature. Along the way, Harker discovers the case may have connections to her personally, with potential links to her mother, played by Alicia Witt.
The immediate praises that the film has been getting from everyone else are the technical aspects, namely the directing, cinematography, and sound design, which are truly immaculate and meticulously thought out in every scene. Every shot maximizes suspense and unsettlement through framing, lighting, mood, sound, score, and pacing. It’s cold and atmospheric, with dread and tension consistently present in every scene. Perkins is always confident in where to put the camera, where/when to move it, and how long a shot should stay for full effect, and I’m excited to see his future projects. (I also enjoyed the detail of the film’s aspect changing whenever there was a flashback.) The score by Zilgi (aka the director’s brother, Elvis Perkins), is suitably creepy and adds to the stressfulness of some scenes, and the sound department led by Eugenio Battaglia is damn near perfect. The sound of Longlegs is crisp and dry, with enough emphasis on certain details and the tiniest of sounds to keep your eyes peeled on the screen. However, what disappointed me was the infrequent, but still annoying, use of obnoxiously loud jump scare-type noise to elicit bigger reactions from the audience during certain moments. It’s cheap and feels deeply amateurish considering how expertly crafted the rest of the sound design is.
I liked Maika Monroe’s acting in this, being an intentionally muted agent who seems like a blank slate and seems to lack deeper connections to most of the other characters. That’s another way Perkins builds intrigue with his shot composition, by focusing on one character per shot and rarely featuring two at once to deepen the disconnect between each other. The film keeps her character at arm’s length for much of it until it reveals more about her. Nicolas Cage, as Longlegs, is suitably over-the-top in his usual Cagey way. His somewhat hammy performance intentionally contrasts with the more reserved characters and setting of the rest of the film, which is stressed by Cage’s usual great screen presence that bounces between slithery and creepy to loud and freakish in seconds. Sometimes he can seem to overdo his performance, but he remains entertaining throughout. As a music nerd, I admired the 70s glam rock references to his character in terms of look and performance, as well as having songs by T. Rex as a motif. The heavy makeup and campy portrayal of the killer from Cage gives the impression of being influenced by several musicians of that era, such as David Johansen of New York Dolls, Rod Stewart, or even outsider folk singer Tiny Tim.
Unfortunately, what really determined my thoughts about the film was the resolution to the plot. Giving nothing away, the main issue with Longlegs is the dump of plot exposition that explains every mystery to the central case towards the film’s end. The film follows a similar plot structure to a lot of thrillers and serial killer investigation films but feels fresh and exciting because of the style and craft behind it. There’s a lot of promise and intrigue early on through new questions being introduced, and it seems to build up to a thrilling climax. Yet the explanations provided not only feel too vague and unsatisfying, but they’re too sudden and close to the end of the film to have the shock and impact it could’ve. It’s a shame that the film stumbles in its final act through its writing and plot development, and ends on a note that leaves it less than the sum of its parts.
Still, even if I had my problems with it, there’s still a lot to admire here. Longlegs is such a marvel in its visuals, direction, and technical aspects as a thriller to make it worth a viewing, even if your enjoyment may depend on your suspension of disbelief as its plot reveals.
