We Go On
- heavy
- extreme
- inventive
- bleak
- cold
- twisty
Heavy, steady, extreme horror / thriller, inventive in texture. Nihilistic, mid-stakes, cold, hand-scored across twelve axes of taste.
How every film is hand-scored →Paralyzed by his fear of dying, Miles Grissom takes out an advert offering $30,000 in reward money to the first person who can show him evidence of an angel, a demon, or prove that ghosts exist - anything to prove to him that we go on after our deaths. He narrows the responses down to three viable candidates - a scientist, a medium, and a worldly entrepreneur. Along with his protective mother, he embarks on an adventure through Los Angeles that will spiral into an unthinkable nightmare.
Our read · We Go On (2016) reads as a heavy, steady, inventive horror · thriller · drama entry — extreme in intensity, mid-stakes in scope, cold in temperature, nihilistic in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
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The shape of We Go On
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Geometric closeness in the twelve-axis space — pure DNA distance, not “people also liked.” Distance numbers are listed under each title for sceners who like to know the maths.
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