Jill and Tom have to confront their damaged marriage before there's more murder
This disturbing indie is an aesthetically driven character study, concerning identity, the self, and co-dependency.
We Are Still Here. 2015. Directed by Ted Geoghegan. Written by Ted Geoghegan & based on a concept by Richard Griffin. Starring Barbara Crampton, Andrew Sensenig, Lisa Marie, and Larry Fessenden. Dark Sky Films. Unrated. 84 minutes. Horror.
3.5 out of 5 stars
I’m a big fan of horror, big fan of Barbara Crampton, so naturally I was excited when I heard We Are Still Here would be an old school haunted house style outing with her as a main character. And while it isn’t the best thing I’ve ever seen, it’s a head above most modern horror. Not to mention there are excellent moments of horror and also fun, interesting characters, which help remind us of the 1980s without trying too hard for nostalgia.
Paul (Andrew Sensenig) and Anne (Barbara Crampton) are moving into the countryside of New England to an old house where they plan on starting over. The move is brought on by the death of their teenage son. Unfortunately, once they arrive at the house things begin to get strange. An old couple seem to have more than just genuine interest in them, and the house makes Anne feel as if there are spirits living there, as if she can feel their son within the walls. As the house’s history literally haunts the new tenants, Paul and Anne must figure out how to stop it, or at the least – how to make it out alive.
In general, I thought this was a fairly solid horror effort. The directing is sharp. Ted Geoghegan has done a fine job crafting the film into something partly fresh, partly old, but one that is certainly full of atmosphere and packs a nice little jab in some of the creepier moments.
Immediately I’ll start with the two small pieces of We Are Still Here I did not particularly enjoy.
First, there’s a death that I found beyond tired and played out – I won’t describe it fully, but it comes once the house starts taking victims. A character gets out of the house, into a car, and seemingly away from the evil… only to be surprised down the road, as a ghost is hiding in the backseat. My initial problem is that once the character got out, I thought “okay this is going to go a different way than most other films that use this type of scene”. It went exactly how I expected. That’s fine sometimes, my problem with this is that it sort of tosses the movie’s own ghost logic out the window – if the ghosts can leave the house, why do they need to wait until someone moves in to wake up every 30 years and take souls? This made me wonder.
Second, I didn’t like how the ghosts looked. They were kind of generic, the look wasn’t too terrifying or anything. Maybe that’s the way they needed to look because of the story, I get that. There are just certain films, which aren’t necessarily bad, where the ghosts or monsters [or whatever they are] don’t look scary like they ought to, but again – this look was mostly in part due to how the people died that eventually show up as ghosts, so I can’t exactly fault the effects. I just didn’t find them super effective in the end.
Now, on to what I did enjoy. The performances were fantastic. You can pretty much bet your ass Barbara Crampton will give a good performance if she’s given a good script. I thought Crampton did a spectacular job ranging between the normal grief we feel and then all those supernatural feelings some get when confronted with death. I thought Crampton and Andrew Sensenig had great chemistry. Sensenig played an excellent character; little bits of his old-fashionedness came out with his remarks about women drivers and all those foolish yet harmless jabs. This really set up the idea that the husband was a much more skeptical type of person, very old-fashioned and set in his ways, which contrasted with Crampton. Then of course there’s the wonderful pairing of Lisa Marie and Larry Fessenden as the New Age couple May and Jacob Lewis. They each did well, but Fessenden is always a treat. I love him as a director and even more as an actor – he always has a fun little part to play whether it’s in his own movies, someone else’s, or even on the FX comedy Louie. Marie and Fessenden were perfect as the binary opposite of Crampton and Sensenig. And once the story gets crazier, Fessenden really has a few good scenes to chew apart. Overall, if the acting were bad this film would not have succeeded. However, these four really were great, and the supporting characters were also played nicely.
The best part of We Are Still Here, for me, is the atmosphere and general feel Geoghegan conjures up with a lot of well-crafted cinematography, editing, and tone. Even the final shot of the film, as one character stands in a doorway looking to the basement, reminds me of an older movie. The atmosphere definitely has that retro-feel, but as opposed to other movies which try hard to get that across I think Geoghegan’s is a much more natural feel. The house itself has a lot to do with that, it’s a great little place in the country and there’s an ever-present nostalgia in it; reminds me of a cabin in the rural part of Newfoundland where I’m from, a lot of those places almost feel like houses out of time, stuck in the 1970s and 1980s when they were first built. So I think some of the throwback feel Geoghegan wrings out of the film comes organically.
Another of my favourite parts is how the film centers on an older couple. There are a couple younger characters in the film, but this is almost entirely about the characters of Anne and Paul, and what they were going through after their son’s death. So many modern horrors, even the ones trying to pose as retro, are entirely based on characters who are millenials – I’m one myself, born just after the end of the so-called Generation X – and that is honestly tiring. Young people aren’t the only ones who love horror; plenty of horror fans out there grew up in the ’70s/’80s when horror really had some balls, innovation, and a hell of a lot of ideas. So, I think Geoghegan’s film is great on that level because we get to see a story, while typical, yet instead of a bunch of young people in their late teens/early twenties being killed for 84 minutes we’ve got more of a mature look at something so familiar. It doesn’t offer much new, but does give a different perspective on the haunted house for a generation getting so used to drivel like Paranormal Activity.
This is definitely a 3.5 out of 5 star film. It was refreshing to watch. Like I said, it isn’t necessarily a brand new take on the haunted house sub-genre of horror. However – I really enjoyed it. The couple small beefs I had with the movie aren’t enough to ruin the whole experience. Crampton and Sensenig did a solid job together, and Fessenden really livened things up during the middle part of the film. Geoghegan has a knack for creating atmosphere and setting a specific tone, so I hope to see something new from him sooner than later. We Are Still Here is, for all its faults, one of the better haunted house films to come along in the last decade. I can confidently say that, even with the problems I had. Check it out on VOD, or if it’s in theatre anywhere near you get out and take the chance. I don’t think you’ll regret spending the time to watch it, and you might find a creep or two just for you lurking in there somewhere.
All hail the Lords of Salem!