In this day and age, ghost stories can be a tough sell.
After all, we’ve seen it all before, haven’t we? From poltergeists to just your average run-of-the-mill specter, ghosts have filled screens big and small in, likely, thousands of adventures. Because there have been so many major motion pictures releases as well as any number of direct-to-DVD properties to explore all of these nether worldly shenanigans, audiences have grown accustomed to spotting the stitches on the fast ball. No doubt even Casper himself – herself? Itself? – would find unemployment a dull existence given the amount of merriment that would be sacrificed in the big loss.
Still, there’s praise to be earned for even modest, workmanlike productions like We Are Still Here (2015). Written and directed by Ted Geoghegan, the chiller starred Andrew Sensenig, Larry Fessenden, Monte Markham, Barbara Crampton, and Lisa Marie in big roles. While it may not be the most original experience you’ll have with spooks this year, it may be one of the most committed to its premise, and that should say something positive.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“After their teenage son is killed in a car crash, Paul and Anne moves to the New England countryside to try to start a new life. But the grieving couple unknowingly becomes the prey of a family of vengeful spirits that reside in their new home, and before long they discover that the seemingly peaceful town is hiding a terrifying dark secret …”
There’s a bit more, but I’ll leave it at that as I think that really sums up We Are Still Here quite effectively without tripping over any of this tale’s various reveals.
Writer/director Geoghegan obviously worked very hard here at capturing a very particular tale with some very particular atmosphere, though I’ll admit I wasn’t convinced he did it as efficiently as he could. The problem (so far as I saw it) is that – for reasons that are never quite clear to the narrative – he invests an awful lot of time and effort in trying to recreate a perhaps too particular rural setting. At times, it’s perceived as barren in much the same way the Coen brothers did in Fargo (1996); and at other times it just comes off as quirky camera angles capturing scenes we’ve otherwise seen before, not meant to necessarily convey any mood or effect but rather show a microcosm of a larger world as slightly askew.
Well, the problem there is that the audience soon learns that this world isn’t slightly askew in the slightest; it’s massively askew. Decidedly persistently askew. Perhaps the textbook definition of ‘askew.’ Once it’s been clearly established, the visual trickery becomes completely unnecessary, almost doubling down on something watchers already know full well. So what’s with the pervasive quirky camera angles, Ted?
Often times, I’m maligned as a critic who invests occasionally too much time into such minutiae, and – while that might sometimes be correct – I’d argue I’m on the money here. We Are Still Here works best when it centers in the here and now – this broken couple trying to put their lives back together after a tragic lost being while being forced to endure something dark and sinister – and those scenes do have some terrific merit here. While a few of the sequences felt a bit derivative of ‘scares’ explored in other pictures (1980’s The Changeling, 1982’s Poltergeist, etc.), there’s still enough substance here to keep true Horror fans watching, though they might nitpick the secondary characters who are far too ‘stock’ than they needed to be.
And how about that Barbara Crampton?
One of the great subversive scream queens from 80’s cult cinema, she manages to inject some life into even the smallest moments here, even when she trapped with nothing more than the most melancholy and predictable reflections of a grieving parent. This being the genre that perhaps she knows best, it’s great to see her turning in work that’s still admirable after a few decades. Also, it’s great to see the screen veteran Monte Markham turning in some great work at this seasoned point in his professional career. He plays the town patriarch with a bit too much first-hand knowledge of the local mythology the way an acting great would. Kudos on his casting.
In the end, We Are Still Here might not be as tight a Halloween thrill as all intended. Not every question is answered, and not every moment makes perfect narrative sense. As I said, even a few sequences weren’t as fresh as I’d hoped … but the cast and crew managed to dish out enough authentic old-school chills to keep my interest.
We Are Still Here (2015) is produced by Snowfort Pictures and Dark Sky Films. DVD distribution is being handled by the reliable Dark Sky Films. As for the technical specifications? While I’m no trained video expert, I found the film peppered with as much good, atmospheric cinematography as it is some of the more dull and dreary frame caps – not entirely certain there was a consistent message inherent in either focus – and some of the sequences ‘feel’ a bit longer than necessary (as the point was made). Lastly, if you’re looking for special features, then you do have a commentary along with the usual behind-the-scenes and trailers to look forward to. Enjoy … and bon appetite!
Recommended.
By golly, Barbara Crampton is still worth the price of admission to look at in this sometimes middle-of-the-road but sometimes pedal-to-the-metal chiller. We Are Still Here (2015) ain’t perfect, though its aims are pure: this is all meant to scare you – the viewers – be it visually or in your very own mind’s eye. Granted, it takes a few short cuts to get there (when travelling the long route might’ve been more fulfilling), but it serves up a pretty convincing ghost story using all of its 83 minutes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Sky Films provided me with a Blu ray of We Are Still Here (2015) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
After all, we’ve seen it all before, haven’t we? From poltergeists to just your average run-of-the-mill specter, ghosts have filled screens big and small in, likely, thousands of adventures. Because there have been so many major motion pictures releases as well as any number of direct-to-DVD properties to explore all of these nether worldly shenanigans, audiences have grown accustomed to spotting the stitches on the fast ball. No doubt even Casper himself – herself? Itself? – would find unemployment a dull existence given the amount of merriment that would be sacrificed in the big loss.
Still, there’s praise to be earned for even modest, workmanlike productions like We Are Still Here (2015). Written and directed by Ted Geoghegan, the chiller starred Andrew Sensenig, Larry Fessenden, Monte Markham, Barbara Crampton, and Lisa Marie in big roles. While it may not be the most original experience you’ll have with spooks this year, it may be one of the most committed to its premise, and that should say something positive.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“After their teenage son is killed in a car crash, Paul and Anne moves to the New England countryside to try to start a new life. But the grieving couple unknowingly becomes the prey of a family of vengeful spirits that reside in their new home, and before long they discover that the seemingly peaceful town is hiding a terrifying dark secret …”
There’s a bit more, but I’ll leave it at that as I think that really sums up We Are Still Here quite effectively without tripping over any of this tale’s various reveals.
Writer/director Geoghegan obviously worked very hard here at capturing a very particular tale with some very particular atmosphere, though I’ll admit I wasn’t convinced he did it as efficiently as he could. The problem (so far as I saw it) is that – for reasons that are never quite clear to the narrative – he invests an awful lot of time and effort in trying to recreate a perhaps too particular rural setting. At times, it’s perceived as barren in much the same way the Coen brothers did in Fargo (1996); and at other times it just comes off as quirky camera angles capturing scenes we’ve otherwise seen before, not meant to necessarily convey any mood or effect but rather show a microcosm of a larger world as slightly askew.
Well, the problem there is that the audience soon learns that this world isn’t slightly askew in the slightest; it’s massively askew. Decidedly persistently askew. Perhaps the textbook definition of ‘askew.’ Once it’s been clearly established, the visual trickery becomes completely unnecessary, almost doubling down on something watchers already know full well. So what’s with the pervasive quirky camera angles, Ted?
Often times, I’m maligned as a critic who invests occasionally too much time into such minutiae, and – while that might sometimes be correct – I’d argue I’m on the money here. We Are Still Here works best when it centers in the here and now – this broken couple trying to put their lives back together after a tragic lost being while being forced to endure something dark and sinister – and those scenes do have some terrific merit here. While a few of the sequences felt a bit derivative of ‘scares’ explored in other pictures (1980’s The Changeling, 1982’s Poltergeist, etc.), there’s still enough substance here to keep true Horror fans watching, though they might nitpick the secondary characters who are far too ‘stock’ than they needed to be.
And how about that Barbara Crampton?
One of the great subversive scream queens from 80’s cult cinema, she manages to inject some life into even the smallest moments here, even when she trapped with nothing more than the most melancholy and predictable reflections of a grieving parent. This being the genre that perhaps she knows best, it’s great to see her turning in work that’s still admirable after a few decades. Also, it’s great to see the screen veteran Monte Markham turning in some great work at this seasoned point in his professional career. He plays the town patriarch with a bit too much first-hand knowledge of the local mythology the way an acting great would. Kudos on his casting.
In the end, We Are Still Here might not be as tight a Halloween thrill as all intended. Not every question is answered, and not every moment makes perfect narrative sense. As I said, even a few sequences weren’t as fresh as I’d hoped … but the cast and crew managed to dish out enough authentic old-school chills to keep my interest.
We Are Still Here (2015) is produced by Snowfort Pictures and Dark Sky Films. DVD distribution is being handled by the reliable Dark Sky Films. As for the technical specifications? While I’m no trained video expert, I found the film peppered with as much good, atmospheric cinematography as it is some of the more dull and dreary frame caps – not entirely certain there was a consistent message inherent in either focus – and some of the sequences ‘feel’ a bit longer than necessary (as the point was made). Lastly, if you’re looking for special features, then you do have a commentary along with the usual behind-the-scenes and trailers to look forward to. Enjoy … and bon appetite!
Recommended.
By golly, Barbara Crampton is still worth the price of admission to look at in this sometimes middle-of-the-road but sometimes pedal-to-the-metal chiller. We Are Still Here (2015) ain’t perfect, though its aims are pure: this is all meant to scare you – the viewers – be it visually or in your very own mind’s eye. Granted, it takes a few short cuts to get there (when travelling the long route might’ve been more fulfilling), but it serves up a pretty convincing ghost story using all of its 83 minutes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Sky Films provided me with a Blu ray of We Are Still Here (2015) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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