Take a Drink: for creepy exposition
Take a Drink: for spiritual mumbo-jumbo
Take a Drink: whenever someone smells smoke
Take a Drink: whenever the soundtrack takes a swing at your eardrums
Take a Drink: whenever the hippy lady insists she feels something sinister
Do a Shot: if you kinda hope she dies fir… third
Do a Shot: for straight nastiness- now, that’s what I’m talking about
By: Henry J. Fromage (Two Beers) –
The 1970s were a Golden Age of horror, from the uber-gory, stylish silliness of Dario Argento and Lucio Fulci to the stark terror of Tobe Hooper to the psychological punishment of William Friedkin.
They don’t know what hit ’em.
Now a new generation of horror auteurs are taking cues from their 70s forebears, and thankfully some haven’t forgotten about that first category. We Are Still Here is Ted Geoghegan’s shot at that vintage Fulci craziness. A couple grieving the loss of their son moves to a rural New England home, only to discover something has either followed them there, or was waiting… and it’s trying to communicate.
The world of We Are Still Here is an impressively detailed, strikingly shot vision of the 1970s in a perfect wintry setting, and never feels cheap or anachronistic. The plot doles out information stingily, which drives a few nice, creepy twists and sets up the bonkers finale.
Now, that’s what I’m talking about.
That finale, with its glorious geysers of blood and genuine “you’ll never guess what happens next” feel is the payoff that earns those Fulci comparisons and your price of admission, but I also have to raise my glass to Larry Fessenden’s apparently unintentional but spot-on crazy Jack Nicholson vibes and the fact that Andrew Sensenig must get mistaken for Bill Paxton all the time.
Or is it Bill Pullman?
Everybody does it, but I’m not much of a fan of the aural jump scare. Also, the earlier action is too dark to make out much, which might have been the point.
The script leaps right into creepy coincidences and paranormal activity instead of giving us much time to bond with the married couple as characters. This problem is exacerbated by a fondness for spoken exposition and acting that straddles the line between a more serious tone in the outset and the campiness of the films that inspired We Are Still Here. As a result, the drama never really connects, but thankfully you don’t have to wait very long for the good stuff.
The plotting could have used some of that Fulci insanity in the outset, but Geoghegan sinks his shot with We Are Still Here. A must for contemporary and classic horror fans.