Although perhaps the most notorious for overused tropes, the horror genre lends itself to untapped creativity and ingenuity. In the past couple of years, scary movies, whether psychological thrillers or bizarre indie concepts have seen a resurgence at the box office, with visionary directors like Jordan Peele and Ari Aster pumping out breathtaking original content. Year after year, horror fans have been blessed with plenty to sink their teeth into. Halfway into 2024, Osgood Perkins’s hellish gem “Longlegs,” stands near the top of the year’s horror hierarchy.

Neon, the indie studio behind the likes of “Parasite” and “Anatomy of All,” got the film off to a buzzy start, launching “Longlegs” from a small-budget horror film to an anticipated event. It all began when cryptic symbols began appearing in newspapers across the country, signed with the phrase “Printed at the request of Longlegs.” In an even grander marketing stunt, the studio plastered billboards with a phone number leading to whispered threats from Longlegs himself, Nicolas Cage. An ambiguous website and eerie trailers were the icing on the cake, prepping moviegoers for an in-the-dark viewing experience. So much so, that previews of Cage’s titular character were completely absent from any ads.

Though far from perfect, containing a few questionable, out-of-place narrative and performance decisions at the tail end, “Longlegs” is a bone-chilling, twisted detective thriller. Its ambitious concept, stellar lighting and sound production culminate in a gripping journey.

The story follows FBI Agent Lee Harker (Maika Monroe) and her pursuit of an evasive serial killer on a terrifying killing spree throughout the state of Oregon. As she slowly uncovers clues behind the killer’s whereabouts and murderous methods, she encounters horrifying secrets that hit shockingly close to home.

Shepherded by Monroe’s straight-faced demeanor, the film draws you into its cold, desolate atmosphere. The first half of the film works excellently as a detective thriller, resembling films like “Zodiac” and “Se7en.” Aside from a heart-pounding introduction scene, Longlegs is held from the audience for a sizable chunk of its runtime, hyping up his eventual commanding presence later on.

Dimly lit interiors and gray-soaked exteriors are captured by wide camera angles, continuously forcing the brain to scan for something lurking in the background. It’s scary not because of what is shown, but what is hidden, nestled away and ready to pounce into focus at any second. Huge portions of the film are accompanied by zero music or ambient noise, adding to its isolating environment. But when the film wants to be loud, both figuratively and literally, it’s piercing.

Monroe is a horror veteran, most well-known for her turn in “It Follows.” Although her character is a bit of a square, it’s clear she’s been deeply bottling up childhood trauma. It might not make for the gaudiest performance, but there’s a level of terrified subtlety that keeps the film trudging along. As she slowly starts to crack, the final girl chops are on full display.

But of course, the performance on everyone’s mind as the credits roll is that of Cage as the film’s disgusting, devilish antagonist. He’s unrecognizable in this role, sporting a mountain of pale make-up and a cartoonish voice. He’s excellent for most of the film, but I fear some of his antics come off as slightly too goofy and wacky. His performance is funny in many ways, and I’m not sure I wanted it to be. Nonetheless, Longlegs is an extremely memorable character and a haunting antagonist.

The final unveiling of the mystery is completely unpredictable. “Longlegs” takes aggressive turns, ending in an unexpected spot. The ride might have been engaging, but the ending is a tad strange. The sheer creativity on display is enough to win me over, but I’m not sure I appreciated all of the film’s sweeping ambitions.

All in all, “Longlegs” isn’t the next horror masterpiece, but it’s as creepy, alluring and technically polished as the best of them. I wouldn’t be surprised if it topped my end-of-the-year horror list.