We Are The Night (2012)

We Are The Night is a hugely entertaining German vampire horror that focuses on a trio of horrible vampire-bitches who – somewhat accidentally – add a fourth member to their group. It is sharply made, beautifully directed and surprisingly well acted. Unfortunately the film’s purposeless may bore some audiences looking for more ‘story’, but this is a decent addition to the vampire movie canon.

After the opening credits sequence, which plays the most annoying and repetitive song in history (just sing “self fulfilling prophecy” over and over again and you’ll get it), we find ourselves on a plane full of dead people with our vampiric trio enjoying their spoils. They exit – jumping out of the plane – and the film blasts us into the life of Lena (Karoline Herfurth).

Lena is a cut-price Lisbeth Salander, dressed in the same garb but basically a low-level thief. After inadvertently ruining a police sting, she flees and finds herself at an illegal rave in an abandoned swimming pool. And who’s there? The vampires!

Vamp leader Louise (Nina Hoss) instantly takes a shine to Lena and bites her – only to be blasted back by her blood. It turns out that Lena is destined to be a vampire. The next morning Lena becomes an undead beast, with no reflection, a severe reaction to the sunlight etc… and reluctantly joins the three other vampires.

This is where the story peters off a little, as basically she hangs around with them as the police investigate their trail of carnage. But can the cops stop them? Does Lena really want to be a vampire?

We Are The Night has a meandering storyline and uninspiring dialogue, almost like an infinitely more violent version of The Craft, just with vampires & lots and lots of guns. It has some fantastic ideas and concepts, with the themes of excess, love, humanity, peer pressure and morality all thrown in, but these never really build to anything

Perhaps the most interesting and underdeveloped idea in We Are The Night is how there are only female vampires left in the world – all the men were made extinct. Why? “They were too loud, too greedy, and too stupid” and the females killed those the Humans didn’t destroy.

Unfortunately most of the ideas and concepts never amount to anything and in the end it all boils down to that universal emotion: love. In some respects it works beautifully – Charlotte’s (Jennifer Ulrich) story is especially moving – but the main dynamic between Lena and lead-vamp Louise just feels false.

Luckily many of these scripting flaws are wonderfully covered by the characters themselves. The three vampires are played exceptionally well by Jennifer Ulrich, Nina Hoss and Anna Fischer, who manage to inject some sympathy into the trio of serial killing monsters. Fischer is especially likeable as the enthusiastic Nora and her boundless energy really improves the mood (which, otherwise, could’ve entered Twilight-sombre-poutiness territory).

There are some really lovely moments in We Are The Night too – like when Lena becomes a vampire and her body heals itself; removing wounds, growing her hair and dissolving her tattoos! It is superbly directed by Dennis Gansel, with some stunning visuals and brutally brilliant action. It is stylish and explosive and thoroughly enjoyable – it’s just a shame the story isn’t more compelling.

Despite being a little purposeless , We Are The Night manages to blast out 100 minutes of solid entertainment. Bright, bold, violent, slick and hugely enjoyable, We Are The Night is a must for fans of the vampire genre.

Rating: ★★★★★★½☆☆☆

2 Comments on “We Are The Night”

  1. [...] “There are some really lovely moments in We Are The Night too – like when Lena becomes a vampire and her body heals itself; removing wounds, growing her hair and dissolving her tattoos! It is superbly directed by Dennis Gansel, with some stunning visuals and brutally brilliant action.” – GORE PRESS [...]

  2. Matt Blythe says:

    As vampire fliks go, this is not a bad one. It’s not a great one, but it doesn’t suck (pardon the unintentional pun).

    The first chunk of the film was not great. A bit too ‘Lonely Ones’, Anne Rice, for my taste. The not great acting and the fairly mediocre effects left me wanting. And the fact that getting vamped disolves yer tattoos, rinses out yer hair dye and grows your hair to a more attractive length, almost made me laugh. But I stuck with it. And I’m glad I did.

    To really enjoy this film you do need to stick with it. And once it gets passed the vaguely laughable, you need to forgive it it’s prior naivety and throw yourself into it. It’s a slow burner, but it does improve as it goes on.

    For me, the high points of the film were the moments that I felt were inspired by ‘Near Dark’ (which I still consider, despite it’s obvious flaws, to be the seminal vamp flik). That said, when yer high point is when the film tries to do something that another film did better… it’s not great.

    I have seen many worse vamp films. But I have also seen many better. What this one fails to achieve in character development (or getting you to relate to them) during the first part, it makes up for in the poigniancy of the latter. If it had managed to do both it would be a blinder of a film. Well… it would be better .

    Only 4 skulls from me.

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