If you think there’s nothing else that can be done with ghost films, then you clearly haven’t seen “We Are Still Here.” Director Ted Geoghegan lends a flavor to the haunted house sub-genre that’s not only fresh, but feels nihilistic to boot. “We Are Still Here” is a successfully slow boil horror film that works within its limited scenery and provides a truly haunting ghost tale that works on so many levels. It’s creative, it’s creepy, and it opens up a vast world filled with a mythology that you want to see more of. When the credits rolled, I wanted to know more about the back story of the Dagmar house and what other victims it’d claimed before we met the Sacchettis.
“We Are Still Here” is set in snowy 1979 New England, where married couple Anne and Paul moves in to a new home. After their son Bobby died from a tragic car accident they left the city hoping to leave behind the painful memories. Moving in to a new home, they discover that it carries with it a long and dark legacy, but after inviting two supernaturally inclined friends over to stay for the weekend, they learn that their home, and the town surrounding it, brings a dark and brutally violent legacy that could spell doom for the grieving couple. What ensues is a very underplayed narrative teeming with menace from the first time we see a picture tip over on frame.
Geoghegan keeps his film simplistic, relying on the house he sets the film in to become a character all on its own. And he accomplishes the task by dropping these two mundane individuals in to a colorful ramshackle cottage that garners a heartbeat. Geoghegan measures his scares skillfully, relying on shadowplay and sleight of hand editing first and foremost, and then completely diving in to the grue and splatter when the shit ultimately hits the fan. The tension rises with the unfolding of each event, from the instance Anne thinks she hears Bobby’s voice throughout the house, to the visit of seemingly normal neighbors Dave and his silent subservient wife Cat. I admittedly went in to “We Are Still Here” expecting an almost average haunted house picture and was pleasantly shocked to see what ultimately unfolds within the confines of the seemingly boring abode.
Geoghegan uses his resources well, taking full advantage of his seasoned cast to cradle most of the shocks and terror that ensues, while also featuring some well placed and minimal CGI that only adds to the film’s overall terror factor. Upon viewing the specters that lurk within the house, “We Are Still Here” takes a turn right in to the horrific, giving us a plain look at our villains, while also keeping them enigmatic and utterly horrific. Barbara Crampton and Paul Sensenig are absolutely remarkable as the tragic protagonists of the piece, both of whom are still trying to find a way to move on without their son, as this new ounce of terror enters their lives.
Crampton in particular is wonderful as the mother who may or may not be clutching to the memory of her son so passionately that it begins affecting her better judgment. There are also great turns by Larry Fessenden, Lisa Marie, and Monta Markham. I’m happy to say that in a market currently filled with ghost films, “We Are Still Here” really stands on its own as a memorable and utterly creepy genre offering that deserves to be seen by horror fans that appreciate something out of the ordinary. A lot of indie filmmakers that enter in to the horror genre only hope to deliver a respectable film, but Geoghegan storms the gates and makes his mark with his debut picture. I believe this is only the beginning of an outstanding film career.
The DVD Features a seven minute behind the scenes entitled “Building a Haunted House” which comprises cast and crew interviews, the making of the film, and how it was originally conceived. There’s the film’s original trailer, and its teaser trailer. Finally, there’s an optional audio commentary with Writer-Director Ted Geoghegan and Producer Travis Stevens. Both men speak at length about making the film and point out the subtle nuances of every scene. They also talk exhaustively about how they made the film in an attempt to undermine common horror clichés, and how they transformed the house in to a menacing monstrous presence. It’s a fascinating piece for fans of the film.