We Are The Night is a German vampire flick that is faithful to the myth, action-packed, consistent acting but with a couple of significant plot holes that were detrimental to the story it somehow falls short. However it is entertaining and delivers albeit lightweight.
The movie centers around Lena (Karoline Herfurth), an amateur thief and her transformation into a blood sucking creature and all the adjustments she had to handle in order to become one. She was chosen by Louise (Nina Hoss) and her party of hedonistic vampires named Charlotte (Jennifer Ulrich) and Nora(Anna Fischer) , after she stumbles into an underground nightclub run by these ladies. This is also where they choose their recruits and get a supply of blood from the party goers to satisfy their hunger. Like the legend, Louise bites Lena and after that she became convulsive, burns to sunlight, loses her reflection in the mirror and craves for blood. However the transformation lacks one crucial stage – to drink the blood of a human. At first Lena resists, but with the vampire chicks manipulation and scheming she then gives in. Lena then savours her new self and the privileges that come with it but one risky behavior after the other she then begins to miss her humanity and starts to question if whether being immortal is worth it especially when a sweet handsome cop Tom (Max Riemelt), who chased her some time starts to show some feelings. The movie then shifts gear from vampire movie to action movie to pseudo romance drama.
This film lacked coherence in the narration as evidence by poor character development of the vampires. Among the three, only Charlotte has a clear background of her past and it was effective in understanding her character. Nora the ditzy vampire is merely portrayed as a party girl and we have no idea at all how she came to be. And for Louise, the head of the vampires, her back story was rushed through out the opening sequence and we only know that she has lived since probably Beethoven’s glory days. The movie could have extended twenty minutes more for additional adrenaline pumped scenes and for delving deeper into the different characters. And the transition somehow made the script inconsistent and there were a few questions left unanswered in the movie. The special effects were okay considering this was a high-profile commercial film. I was expecting a little more.
Now on to its saving graces: the cinematography was as expected above average especially the camera sequence in the first part of the film in which Tom chases Lena around Berlin. Also unforgettable were the car chases around the city and the climactic fight towards the end. The acting was very convincing and all the lead actors were able to make up for what the screenplay was deficient. The romance between Tom and Lena somehow seems forced but in the end it is still believable sans sparkling glitter and cheesy lines from classic English novels.
The film also had undertones of feminism as evidenced by the vampires to select only women to become the undead and as they claimed to have killed all the vampire men for men are emotionally unstable compared to women. There were also hints of lesbianism through the scenes in the nightclub and the confrontational scene at the end. The movie also portrays vampires as luxurious, impulsive, yet cultured, sensual and sophisticated supernatural beings.
Though it has some obvious inconsistencies the movie still manages to be enjoyable, better than any of the vampire movies being shown lately and concluded with leaving the audience something to talk about after watching it.
Watch it: If you dig vampire movies with plenty of action, kick-ass bitches and beautiful people in it.
Don’t watch it: If you are not interested in the vampire myth and reading subtitles while watching an action flick gives you vertigo
7 out of 10 stars: The film obviously lacks impact but still worth your time because of the acting and butt kicking scenes.