Thick in atmosphere and striking in look, We Are Still Here is a solid entry into the haunted house movie sub-genre, yet doesn’t quite reach its full potential.

The problem with recreating the 1970s horror movie for modern times is that filmmakers have to contend with the mythos those films conjure. For example while The Amityville Horror is not as scary as it was in 1979, its legend perpetuates its reputation.

So we come to We Are Still Here, a film that comes with certain expectations since it so clearly wants to evoke an era where classics of the genre reigned. Directed and written by Ted Geoghegan (his debut) there is much in the way of style and atmosphere in its story of grieving couple Anne and Paul Sacchetti (Barbara Crampton and Andrew Sensenig), who move to a new home in rural New England in hopes of finding closure after the death of their oldest son.

Of course it doesn’t take long for an ‘evil presence’ to make itself known, nor for a nosy, creepy neighbour (a scene stealing Monte Markham) to provide the necessary exposition that they are living in a house whose eerie inhabitants crave blood every 30 years or so…and time is up.

The stakes are indeed raised and Geoghegan does a great job in keeping the tension high, teasing his ghastly ghosts with escalating bouts of gore infested violence to make We Are Still Here a film that will satisfy both haunted house and gore horror fans.

Set in 1979 there is much in the way of retro costumes and settings, made even more apparent by cinematographer Karim Hussain’s widescreen photography that reminds of the days when horror filmmakers added such artistic flourishes to their work. Performances are varied, with the previously mentioned Markham brilliant as the man of exposition, and scream queen Barbara Crampton (of Re-Animator and From Beyond fame) the standout with much drama added to her repertoire of looking terrified.

Of course - as with most horror movies – the endgame just can’t live up to the build-up, with monsters uninspiring and revelations underwhelming. Regardless there is much to like in Geoghegan’s debut. Now for the filmmaker to create his own identity as a horror filmmaker, instead of paying tribute those who paved the way before him.