We Are What We Are

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Reviews:
Bill Stamets(Chicago Sun-Times): A kindred implodes with a biting commentary without interrupti~ patriarchy.
Bill Goodykoontz(Arizona Republic): "We Are What We Are" is such a patient, trusting film it may take you a under which circumstances to figure out it's a consternation film.
Tirdad Derakhshani(Philadelphia Inquirer): We Are What We Are doesn't consume time with cheap scares. Mickle keeps his fable on a steady, slow simmer, passionate us minute by minute into the to a high degree heart of dread.
Michael O’Sullivan(Washington Post): There's more fun to be had, as lengthy as your idea of fun includes actuality grossed out.
Moira MacDonald(Seattle Times): The movie corsets elegantly restrained just long enough in opposition to the true horror of what they're doing to sink in.
Peter Keough(Boston Globe): A campy and at intervals elegant American Gothic horror story.
Mark Kermode(Observer [UK]): An ambitious (if somewhat uneven) slice of downbeat American gothic language which interweaves grim melancholia with distinct satire, doomy portent and moments of gnawing violent separation.
Geoffrey Macnab(Independent): Some of the thin skin is gruesome in the extreme unless there is always lyricism and tender emotion alongside the bloodletting.
Lisa Mullen(Sight and Sound): Mickle and co-quill-driver Nick Damici give themselves plenty of time to provoke out their themes and ladle without ceasing the tension.
Alan Jones(Radio Times): Jim Mickle's savvy re-imagining of the 2010 Mexican skill-house horror marks a quantum spring forward in maturity and style because the Stake Land director.
Charlotte O’Sullivan(This is London): Who be able to resist a good cannibal movie?
Peter Bradshaw(Guardian [UK]): Another obtuse remake.
Henry Northmore(The List): A excellent example of a remake that is in the manner that good as, if not better, than the prototype.
Nigel Andrews(Financial Times): Stupendously apathetic: dull with that blend of overloaded issue and under-supplied affect that abominable horror alone truly offers.
Rich Cline(Contactmusic.com): Even however this is an extremely well-made thin skin, it's difficult to comprehend who will enjoy it, as it's estranged too arty for horror genre fans and plenteous too grisly for arthouse moviegoers.
Matthew Thrift(Little White Lies): This genial-realist take on the cannibal sub-genre makes instead of a surprising lyrical and quietly obscure piece of filmmaking.
Rob Daniel(Sky Movies): A shrug of a movie.
Tim Robey(Daily Telegraph): Mickle prizes to be believed characterisation above everything else, and casts extremely competent actors, who succeed in making the Parker clique feel both frail and somehow stuck off of time, like freak survivors from the 19th hundred years.
Jennifer Tate(ViewLondon): An atmospheric cannibalism fear featuring an impressive performance by Julia Garner, ~-end it's let down ~ the agency of a slow first act, weak conversation and an unsuitable score.
Virginie Svy(Electric Sheep): Mickle has fashioned a mopish American Gothic tale set deep in the midst of bleak, misty mountains.
Matt Glasby(Total Film): A august grief-soaked horror set in a desperated, given to atheism universe, WAWWA is unnverving and pathetic in equal measures, easily eclipsing the type.
Kim Newman(Empire Magazine): A crunching, visceral transpose for this cannibal tale from its urban Mexican setting to each American milieu.
Jonathan Kiefer(SF Weekly): Genre fans lacking more gore and less fancy atmospherics determination have their gratification delayed but certainly not denied.
Felix Vasquez Jr.(Cinema Crazed): Barely middling but at least worth the watch concerning the finale, alone.
Chris Fyvie(The Skinny): This existential pester and melancholy prove welcome antidotes to the fatiguing 'Look! Surprise!' brand of horripilation that's currently in usage.
Jeff Meyers(Metro Times (Detroit, MI)): If trifle else, director Jim Mickle should subsist commended for his subversive attempt to direct his slow-burn cannibal horror flick into a dogged meditation on matriarchal power and the strict demands of tradition.