We Are What We Are

Having seen and quite enjoyed the Spanish original I was a bit concerned about seeing it remade. My concerns were unfounded though as it turns out since, while the director did use the general idea of the original, he did not so much do a remake as a spin off. The setting, characters, general plot, and ending all very significantly deviate from the original, and there is even a detailed back story added which creates, if not sympathy, at least comprehension for the acts this family does.

The movie itself is beautifully developed to create both a very plausible realism and very well defined characters. It is these characters that are the goal, and the movie does not resort to needless gore to satisfy cruder appetites. The acting is carried off quite flawlessly, and we do find ourselves at least rooting for the children to some degree. All in all it was well worth the watch.

Would I say it is better than the original? Well, given that they are both very different it would be unfair to pit them against each other directly. I will say I did prefer the original overall as it was first, so it took some of the novelty out of the second, and the original made it more of a sort of very twisted coming of age tale than the second movie did, and I really liked that dimension of it. But if I look at them more as apples and oranges, I would say they both are very well done and each earns its place as a highly recommended piece of work.

I would not call it a horror movie even if there were some bloody parts but it was for sure a good movie. Starting slow and building the suspense up every minute. I really enjoyed watching this movie. I guess they put it in the horror genre because some people might get offended by the story but I wasn't at all shocked. I'm pretty sure there must be sicko's like this in our miserable rotten world. If you want to watch a nice thriller with a good plot then you must for sure watch this movie. You won't regret it. Very underrated movie to me when I see the score he only gets. Compared to some really bad movies that still get like 4 stars it goes beyond my comprehension that this one doesn't even get 6 stars. Well I guess that it's every man to his taste.

A film with such a visible title is surely hinting at the potential themes of the film, right? Well, popularly so, that seems to not be enough for the majority as they're seeking unusually complex films that are basically only made to reach that one significant message to the audience. In my honest opinion, not every film has to blatantly and pretentiously boast its themes and message in order to be considered a masterpiece or, at least, a great film. Upon entering a film, I expect it to entertain and immerse me in a memorable story, coupled with all the effective elements to make it so. If you're commencing this film with that mindset, you're almost guaranteed to have a much better experience. This motion picture tells a remarkable and compelling story about an isolated family who vastly differentiate from the normal citizens- a father and his two daughters and son- suddenly mourning the death of their mother/wife.

The film does noticeably carry along at a slow pace in its first half as the moviegoer adjusts to the environment and carefully observes this rural atmosphere and its wildly strange inhabitants. Once you familiarize yourself with the family's habits as their backstory unravels, the film begins to kick in. In defense to the flak the film's been receiving from critics who're essentially panning its sluggish pace, I'm forced to question why Terrence Malick's films (the earlier works, especially) are met with such unanimous applause because they perfectly replicate what it means to be excruciatingly slow-paced. With this unfolding plot, the pace eventually picks up in its latter half (unlike Malick's persistence in meddling pace), and we're ultimately greeted, for lack of a better term, with a remarkably tense ending, which serves as a pinnacle in conclusions. Although the film is frankly plagued by an element of predictability due to the way some scenes are shot, an edge of unpredictability is highly prevalent throughout the finale. The crowd encounters several twists and turns along the way until all has been exposed and the conflict hits its marvelous peak. Basically, this is one of those movies that are definitely redeemed by the exceptional manner in which the story wraps up.

By the way, this is, at the end of the day, a horror film in essence, and I greatly appreciated the film's preference of storytelling rather than the mindless path of excessive gore and pointless violence, that which infests the horrendous contemporary horror flicks. Admittedly, I found myself losing interest in the film's events and ensuing mystery until it finally reaches that sweet spot halfway through the story (as previously mentioned). In addition, it's superbly acted with the whole cast terrifically fitting into their roles and the father perfectly conveying that look of menace, intimidating everyone around him with a low-pitched, frightening voice and a werewolf-like, unshaven face. However, I'll have to mention just how irritated I was by the amount of mumbling that was occurring during the beginning. It was extremely difficult to grasp a single word out of their mouths, and I can't possibly stress just how much I hate actors' decisions to mumble. Understandably, they're often found in miserable positions. Regardless, without subtitles, you're left to struggle with understanding as the tale progresses.

Furthermore, the cinematography is undeniably beautiful at times and then, it also serves well when it comes to telling the story with that hint of tension and suspense (the primary goal of a cinematographer, in the first place, before going for fancier shots), complementary to the mise-en-scène as well. The director's consistent use of rack focusing undoubtedly contributes to the outstanding execution of some specific scenes, especially the grand finale. In the end, the film isn't fascinatingly complex or considerably intelligent, but it absolutely works in terms of plot, camera-work, and performances. Though the music disappointedly isn't striking and feels fairly bland and generic (removing potentially greater suspense and eeriness from the final product), We Are What We Are will likely stick in your mind due to the completely unexpected and pulsating intensity that erupts as it nears the finish mark.

The Parkers, a reclusive family who follow ancient customs, find their secret existence threatened as a torrential downpour moves into their area, forcing daughters Iris and Rose to assume responsibilities beyond those of a typical family.

Director Jim Mickle is known for his films "Stake Land" (2010) and "Mulberry St" (2006), and has really made a name for himself as a rising star in the world of horror. This is probably his best picture yet, and hopefully gets him the praise he deserves and his name to be more widely known.

Mickle did not originally want to direct a remake of the original film, as he dislikes American remakes of foreign horror films. After speaking with Jorge Michel Grau, Mickle and Demici realized they could put their own spin on it. Michael Haneke, Japanese horror, and cult film "Martha Marcy May Marlene" served as inspirations.

I think this film speaks for itself. The pacing, tone, atmosphere... it is very accomplished. Now, granted, I am not familiar with the Mexican version, so I can hardly compare them. But this impressed me.

Good narrative until the five final minutes... poor ending... it was disappointing.