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IMDbPro

We Are What We Are

  • 2013
  • R
  • 1h 45m
IMDb RATING
5.9/10
23K
YOUR RATING
POPULARITY
2,707
998
Bill Sage, Ambyr Childers, and Julia Garner in We Are What We Are (2013)
Behind closed doors, the seemingly whole Parker family is ruled by a patriarch determined to keep his ancestral customs intact. As a torrential rainstorm hits their town, authorities begin to uncover clues that bring them closer to the secret that the Parkers have held closely for years.
Play trailer2:31
11 Videos
31 Photos
Folk HorrorSupernatural HorrorDramaHorrorThriller

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 r... Read allThe 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.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
  • Writers
    • Nick Damici
    • Jim Mickle
    • Jorge Michel Grau
  • Stars
    • Bill Sage
    • Ambyr Childers
    • Julia Garner
  • See production info at IMDbPro
  • IMDb RATING
    5.9/10
    23K
    YOUR RATING
    POPULARITY
    2,707
    998
    • Director
      • Jim Mickle
    • Writers
      • Nick Damici
      • Jim Mickle
      • Jorge Michel Grau
    • Stars
      • Bill Sage
      • Ambyr Childers
      • Julia Garner
    • 112User reviews
    • 175Critic reviews
    • 71Metascore
  • See production info at IMDbPro
    • Awards
      • 5 wins & 11 nominations total

    Videos11

    Theatrical Trailer
    Trailer 2:31
    Theatrical Trailer
    We Are What We Are
    Clip 0:49
    We Are What We Are
    We Are What We Are
    Clip 0:49
    We Are What We Are
    We Are What We Are
    Clip 1:03
    We Are What We Are
    We Are What We Are
    Clip 0:58
    We Are What We Are
    We Are What We Are
    Clip 1:09
    We Are What We Are
    We Are What We Are: Clutching At Straws
    Clip 1:29
    We Are What We Are: Clutching At Straws

    Photos31

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    + 27
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    Top cast30

    Edit
    Bill Sage
    Bill Sage
    • Frank Parker
    Ambyr Childers
    Ambyr Childers
    • Iris Parker
    Julia Garner
    Julia Garner
    • Rose Parker
    Wyatt Russell
    Wyatt Russell
    • Deputy Anders
    Kassie Wesley DePaiva
    Kassie Wesley DePaiva
    • Emma Parker
    • (as Kassie DePaiva)
    Laurent Rejto
    Laurent Rejto
    • Hardware Clerk
    Jack Gore
    Jack Gore
    • Rory Parker
    Kelly McGillis
    Kelly McGillis
    • Marge
    Michael Parks
    Michael Parks
    • Doc Barrow
    Annemarie Lawless
    Annemarie Lawless
    • Arlene Stratton
    Traci Hovel
    Traci Hovel
    • Mrs. Kimble
    Nat DeWolf
    Nat DeWolf
    • Mr. Kimble
    Nick Damici
    Nick Damici
    • Sheriff Meeks
    Vonia Arslanian
    • Emily Meeks
    Larry Fessenden
    Larry Fessenden
    • Bearded Tenant
    Odeya Rush
    Odeya Rush
    • Alyce Parker
    Joel Nagle
    Joel Nagle
    • Mathias Parker
    Reagan Leonard
    • Alyce's Mother
    • Director
      • Jim Mickle
    • Writers
      • Nick Damici
      • Jim Mickle
      • Jorge Michel Grau
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews112

    5.922.6K
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    Featured reviews

    7sstetsko

    A good remake of a foreign film... that's rare.

    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.
    8FilmMuscle

    We Are What We Are for Good or Bad

    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.
    7gavin6942

    They Are Who They Are

    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.
    5Howling_at_the_Moon_Reviews

    A solid "meh, alright, cool"

    Not terrible, not amazing... but I was entertained. The pacing was a bit off and I feel like if they had really thrown it into "thriller" it would have been a bit more engaging. The two lead girls did a great job. Would recommend.
    5grmfpharma

    Poor ending

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

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Based on the screenplay "Somos Lo Que Hay" by Jorge Michel Grau.
    • Goofs
      The dungeon door's window bars were removed each time the camera looked through it. Four wide vertical bars were visible in approach and open door shots.
    • Quotes

      Marge: I heard somebody down in the shed earlier.

      Iris Parker: It must've been Daddy. He's the only one allowed down there. Ever.

      Marge: Well, it sounded like a girl crying.

      Iris Parker: I don't know what you think you heard, but you must be mistaken.

    • Connections
      Featured in At the Movies: Cannes Film Festival 2013 (2013)
    • Soundtracks
      I'll Pretend
      Written and Performed by Glen Morris

      Courtesy of Fervor Records Vintage Masters

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    FAQ19

    • How long is We Are What We Are?Powered by Alexa

    Details

    Edit
    • Release date
      • October 25, 2013 (United Kingdom)
    • Countries of origin
      • United States
      • France
    • Official site
      • Official Twitter
    • Language
      • English
    • Also known as
      • Somos lo que hay
    • Filming locations
      • Margaretville, New York, USA(town and surrounding areas)
    • Production companies
      • Belladonna Productions
      • Memento Films International
      • Paradise City
    • See more company credits at IMDbPro

    Box office

    Edit
    • Gross US & Canada
      • $81,381
    • Opening weekend US & Canada
      • $13,727
      • Sep 29, 2013
    • Gross worldwide
      • $159,047
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      1 hour 45 minutes
    • Color
      • Color
    • Sound mix
      • Dolby Digital
    • Aspect ratio
      • 2.35 : 1

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