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Longlegs is a horror film directed by Osgood Perkins, which combines the horror of a crime scene with the surreality of a nightmare. The film begins with a classic home movie ending, but then introduces rookie FBI agent Lee Harker (Maika Monroe). Harker has a strong intuition that their suspect is hiding in a random house, and her boss, Agent Carter (Blair Underwood), assigns her to investigate a series of crimes. The evidence points to murder-suicide, but there is a letter written in code and signed "Longlegs" at each of the crime scenes.

Carter suspects that this "Longlegs" is influencing the killers from afar, and she brings Harker and her newly discovered abilities onto the case. Longlegs' messages are designed to resemble those of the Zodiac Killer, and the agents bring up Charles Manson when discussing his methods. Weaving these historical crimes into a work of occult fiction blurs the line between real and unreal, and is key to the film's uncanny power. Lee dives into the bloody mystery feet first, and the tension builds as she realizes that Longlegs knows her name and where she lives, and they met once, a long time ago. The film becomes Perkins' take on The Silence of the Lambs, with Monroe as the Clarice Starling of the piece. When we finally meet Longlegs (Nicolas Cage), he is Buffalo Bill's Satanic cousin, with the makeup and glam rock but without the problematic trans storyline. Maika Monroe is capable and brave in the role of Agent Lee Harker, particularly opposite Alicia Witt as Lee's fragile mom, Ruth. She can't quite maintain the center of gravity needed to keep Longlegs from spinning out as the conspiracy gets deeper and the murder methods more esoteric. However, her lean athleticism makes her believe she'll survive until the end, a quality that has seen her cast as a "final girl" in films like It Follows, The Guest, and Watcher.

Perkins also has a strong sense of identity as a filmmaker, with his overcast color palette and American Gothic farmhouse aesthetic carrying over from The Blackcoat's Daughter and I Am the Pretty Thing That Lives in the House. There are moments when Longlegs feels like a movie you've seen before, but with an evil filter laid over it, which is both a weakness and a strength. Perkins' horror surrealism renders the familiar strange and the strange familiar, leaving viewers vulnerable, making it feel like something unholy is emanating from the movie itself.

The Sitter is a movie directed by Jonah Hill and starring Jonah Hill as Noah Griffith, a slacker who agrees to babysit his mom's best friend's kids. The kids are Slater, a teenager with anxiety issues, Blithe, a 9-year-old who wants to become a celebutante, and Rodrigo, a destructive force. Noah makes a bad decision when he agrees to score drugs for his selfish girlfriend Marisa, hoping she will finally have sex with him. He takes the kids with him to buy drugs from nutty dealer Karl and his sidekick Julio, leading to a series of misadventures as they try to get home alive. The Sitter is a "one crazy night" comedy in the vein of a 1980s flick, with similarities to Chris Columbus' Adventures in Babysitting and Ferris Bueller's Day Off, Risky Business, and Weird Science. Director David Gordon Green and his writers aim to channel John Hughes, but the film ends up being somewhat of a mixed bag. The script is not the cast's fault, but rather the script's. Hill plays Noah as a man-child who doesn't care about anything or anyone other than himself. He has enough emotional maturity to understand why the kids are troubled and can't get out of his own way long enough to take responsibility for his life. The kids are motley and disorderly, with Slater being the most normal, sensitive, and accessible of the three. Bender and Hernandez get the biggest laughs, with the former having a disturbing yet funny department store scene with Hill and the latter's mayhem being the source of most of the trouble that befalls the group. Rockwell gives the drug dealer some personality, while Smoove plays another variation of his high-strung, profane sidekick schtick.

While The Sitter may not live up to its hilarious red band trailers, it's still worth a look for those seeking some vulgar laughs or an '80s throwback.

Summer Camp is a movie that aims to bring older audiences back to theaters by making movies about them. The film follows three lifelong friends, played by Diane Keaton, Kathy Bates, and Alfre Woodard, who first met at Camp Pinnacle in Hendersonville, North Carolina. The story revolves around the three friends' personalities and their core thesis: they are still their tween selves 50 years later. The movie's setup establishes the central threesome's personalities and lays down the movie's core thesis: they are still their tween selves. However, the movie's dithery routine feels calcified into distracting shtick. Ginny, a best-selling author with a shoutily branded tour bus, surprises Mary and Nora at Camp Pinnacle's weeklong reunion, its very first, and surprises them with a glamping-caliber bunkhouse. The screenplay weaves in a few well-played jabs at self-help in general, targeting familiar territory in ways that skirt cliché. Both Nora's tween crush, the "whip-smart" Stevie D (Levy), and Mary's, the "handsome as hell" Tommy (Dennis Haysbert), show up at the gathering, conveniently single and gently rekindling those long-ago flames. Haysbert delivers mellifluous depths of his voice and exudes good-guy vibes, which he does exceedingly well. A nearly wordless sequence at a pottery wheel, the intimacy and giddiness - not to mention the phallic symbolism - is well captured by cinematographer Karsten Gopinath. Levy's retired exec counters Nora's compulsive devotion to her job with his relatively newfound commitment to work-life balance. The movie's sputtering, choppy energy brings the movie's sputtering, choppy energy to a compelling place of quiet. Landon's overreliance on back-and-forth reaction shots gives many exchanges a fidgety unease rather than letting the actors find the center of the action. When things calm down, Summer Camp finds its heart and its nerve - notably in a late-night conversation among the three friends about loneliness, romance, and independence, and in the two potential couples' tentative heart-to-hearts. The humor also clicks better in these instances. As for the camp staff, Josh Peck brings sweet sincerity to the role of Jimmy, a counselor in search of a calling. The reunion activities are overseen by a barely there figure of New Age equanimity who's aptly named Sage (Nicole Richie). Mainly she provides serene and nonjudgmental ballast to the exhausting weirdness of her gung-ho assistant, Vick, with Betsy Sodaro channeling something between Melissa McCarthy in Bridesmaids and Sam Kinison.