Hailed as one of the biggest horror movies of the year, Longlegs won't let fans see Nicolas Cage's killer until they're sat in a cinema.
Writer-director Osgood Perkins' acclaimed thriller owes part of the hype to the decision to conceal Cage's murderer from sight until the July release. The histrionic actor's new transformation can't be seen in the film's promotional material, with the antagonist only captured from weird angles in the trailer.
The filmmaker has explained the reasoning behind the choice to hold off for the big reveal, saying: "It's driving people towards a freak show at a circus tent."
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"We've got the thing behind the curtain, and when there's enough people gathered 'round, we're going to pull the curtain," Perkins told Entertainment Weekly.
Cage also weighed in on why keeping the Longlegs killer hidden ahead of release works perfectly towards building the anticipation.
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"It's the equivalent of putting a warning label on a jar of nitroglycerin," Cage said.
"The monster is a highly, highly dangerous substance. The way it's moved, unveiled, deployed has to be treated very carefully."
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He continued: "Forget about the movie theater blowing up; the whole city could blow up, nay the country, maybe even the world. He is going to change your reality. Your doors of perception are going to open, and your life is not going to be the same."
If Cage's words – and the rave, if terrified, reviews from those who've already watched Longlegs – are anything to go by, Perkins' movie is going to be a visceral cinema experience.
The movie also stars It Follows' Maika Monroe as Lee Harker, an FBI agent with an interest in the supernatural who's called to investigate on the case and realise she has a connection to the killer.
Longlegs is out in cinemas on July 12.
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Reporter, Digital Spy
Stefania is a freelance writer specialising in TV and movies. After graduating from City University, London, she covered LGBTQ+ news and pursued a career in entertainment journalism, with her work appearing in outlets including Little White Lies, The Skinny, Radio Times and Digital Spy.
Her beats are horror films and period dramas, especially if fronted by queer women. She can argue why Scream is the best slasher in four languages (and a half).
