Ted Geoghegan’s We Are Still Here is a blissfully simple yet tremendously rewarding exercise in dark comedy/horror that hits the mark incredibly well by castling well known faces that are already totems in the genre, employing sidesplitting situational comedy that hovers on the edge of droll and a script that anchors it all with a well written confidence, not to mention a cool retro visual palette that brings to mind minimal yet affecting stuff like Rosemary’s Baby, The Evil Dead and others from back in the day. A middle aged couple (Andrew Sensenig and Barbara Crampton) have moved into a rural house and are still grieving the loss of their son but this house, naturally, is spectacularly haunted and they find themselves and their friends plagued by a vicious dark force emanating from the basement. The life of the party is Larry Fessenden and the gorgeous Lisa Marie as their avant-garde hippie friends who arrive for a seance and get way more than they bargained for. Fessenden has a way of delivering dialogue that just had me holding my sides even when he wasn’t trying to be funny, while Marie is an ethereally beautiful presence who has mostly shown up in various Tim Burton films over the years and not much else, but it’s lovely to see her branch out. The special effects are gruesomely tactile, the scares genuinely unsettling and the story, albeit scant and simple, works very well in servicing some intensely gory mayhem in the third act after a blessedly slow burn getting there. This may be an uncomplicated, super traditional exercise in genre horror that doesn’t necessarily bring anything we haven’t seen before to the table but what it does set out to do, it does exceedingly well and I had a great time with it.
Some films just place you right into the action without a moments setup, exposition or prologue, they just ruthlessly air drop you right into a furious bedlam of urgency and incident with nary a moment of narrative foreplay or warmup and I love them for it. Ted Geoghegan’s Mohawk is a breathless, unconventional and altogether brilliant horror/western hybrid (my favourite genre amalgamation) that tells the tale of young Mohawk woman Okwaho (Kaniehtiio Horn) fighting alongside her two lovers against a vicious regiment of American soldiers hellbent on her destruction as her Mohawk elders try to retain the tribes neutrality amidst a nasty personal vendetta on both sides. Peace and neutrality unfortunately just weren’t in the cards for the early days of America and the hatred, rage, violence and conflict of it all are reflected in this lean, mean, taught, streamlined and spectacularly thrilling piece of esoteric escapist exploitation that I have fallen in love with and immediately ordered the DVD. Horn is actually part Mohawk herself and owns the role with intimidating physicality and stoic yet emotional resolve, I’ve seen her work in Letterkenny and noticed her in Brandon Cronenberg’s Possessor earlier this year, she’s one to watch out for. Okwaho’s two lovers are a fierce fellow Mohawk named Two Rivers (Justin Rain) and young British officer Joshua (Eamon Farron, who we remember as the evil Richard Horne in Twin Peaks: The Return). She does her best to protect them and the entire time she’s forced to run, fight and survive she is also with child, which makes for one intense character arc. The American soldiers are a mottled, complex bunch led by a cold, hard bastard of a captain played by the otherworldly looking Ezzra Buzzington in a performance of terrifying sadism, unabashedly verbose fury and curiously contradictory rationality that makes him a believable character with dimensions as opposed to a villain composed simply of leering caricature. This is in contrast to his second in command who is a gruff, racist asshole with headgear that Ichabod Crane would be proud of, played by Robert Longstreet who was so good as the groundskeeper in Haunting Of Hill House. I’ll be honest, not everyone is going to love this film: it’s severely low budget which is noticeable, it does this tightrope walk between brutal splatter horror sensibilities and eerie, surreal mysticism that might not work for every viewer and it may just be too much of a nerve wracking gauntlet for some to get through and keep up with the pace, violence and mile-a-minute sociopolitical flourishes peppered into the colourful, detailed dialogue. The things I’ve mentioned are all part of what made me appreciate this film though; the stirring opening credits scooped me up and threw me right into the action, the emotional core of Okwaho and her two lovers kept me caring for them even when action took over for character development a bit, the dastardly nature of the soldiers and preening theatricality of Buzzington’s villain was engaging, the audaciously unapologetic violence and surging momentum literally had me putting down my phone and hovering on the edge of my seat in rapturous tension. Not to mention the gorgeous, propulsive, dark-synth laden score by Wojciech Golczewski that keeps mood, atmosphere, menace and emotion thrillingly alive and pulls the slack shockingly tight for the duration of the film until it’s unbelievably fearsome climax. If you love sweeping, emotional stuff like Last Of The Mohicans but you also appreciate mean, fucked up, grisly horror tinged westerns like Bone Tomahawk you’ll dig this absolutely terrific film.