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We Are What We Are

Drama . Horror . Thriller

In this reimagining of the 2010 Mexican film of the same name, director Jim Mickle paints a gruesome portrait of an introverted family struggling to keep their macabre traditions alive, giving us something we can really sink our teeth into.

Actors: Bill Sage , Ambyr Childers , Julia Garner , Michael Parks , Wyatt Russell , Kelly McGillis , Nick Damici , Jack Gore , Kassie DePaiva , Odeya Rush , Kassie Wesley DePaiva , Laurent Rejto
Directors: Jim Mickle
Country: USA , FRANCE
Release: 2013-10-25
More Info:
  • David Rooney

    The film is that rare modern horror movie that doesn’t simply fabricate its scares with the standard bag of postproduction tricks. Instead it builds them via a bracing command of traditional suspense tools... This is polished film craft.

    The Hollywood Reporter Full Review
  • Peter Sobczynski

    Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around... We Are What We Are is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one. Full Review
  • William Goss

    Among the stronger American horror films of the year. Full Review
  • Ian Buckwalter

    Mickle and co-writer Nick Damici gutted Grau's story to the bone. And they not only built something entirely new on that skeleton — they managed to equal and in many ways surpass the dark, bloody beauty of their source material.

    NPR Full Review
  • Ignatiy Vishnevetsky

    It plays less like a contemporary horror film than an increasingly gruesome drama, building to a climax — completely original to this version — where the movie’s core themes are expressed through grotesque imagery.

    The A.V. Club Full Review
  • Eric Kohn

    Make no mistake: Mickle wants to make you jump and scream, but death only arrives in this movie once its world comes to life, which makes each sudden turn all the more intense.

    indieWIRE Full Review
  • Jessica Kiang

    We Are What We Are is just a great yarn, well-acted, elegantly shot and put together cleverly so that even its more visceral delights feel well-earned.

    The Playlist Full Review
  • Nigel Floyd

    Against all the odds, Stake Land director Jim Mickle has cooked up a controlled, affecting ‘companion piece’ that honours the Mexican original while deepening its themes.

    Time Out London Full Review
  • Kim Newman

    A crunching, visceral transplant for this cannibal tale from its urban Mexican setting to an American milieu.

    Empire Full Review
  • Bill Goodykoontz

    With its lush look, uniformly excellent acting, slow cadences and unhurried unspooling, We Are What We Are rewards your patience without skimping on the goods.

    Arizona Republic Full Review
  • Andrew O'Hehir

    There’s a hint of Terrence Malick (or David Lowery, of “Ain’t Them Bodies Saints”) in the often-gorgeous photography of Ryan Samul, and a hint of Shakespearean grandeur in Sage’s portrayal of a dignified and honorable American father infused with an ideology of madness. I’m pretty sure I’ve never seen an exploitation film played so effectively as human tragedy. Full Review
  • Marc Savlov

    An American remake of Jorge Michel Grau's 2010 Mexican shocker, this Sundance and Fantastic Fest fan favorite is undeniably creepy stuff that’s been given a dusty, American Gothic anti-sheen courtesy of cinematographer Ryan Samul.

    Austin Chronicle Full Review
  • Tirdad Derakhshani

    "The Silence of the Lambs" gave us an articulate, Euro-suave gourmand cannibal, but served up pretty much the same stew.

    Philadelphia Inquirer Full Review
  • Bill Stamets

    A family implodes with a biting commentary on patriarchy.

    Chicago Sun-Times Full Review
  • Walter Addiego

    The movie saves most of its modest number of jolts for its last quarter or so, which makes them all the more intense. They stick in your craw - and be warned, they're not for the squeamish.

    San Francisco Chronicle Full Review
  • Sara Stewart

    A first-rate example of good storytelling and well-timed — while not excessive — gore. Its disgusting, hilarious conclusion left me eager to see what’ll be next from director Jim Mickle.

    New York Post Full Review
  • Jen Chaney

    What Mickle really gets right, and what makes this far and away a more artful and effective work of skin-crawly horror than its predecessor, is atmosphere.

    The Dissolve Full Review
  • Betsy Sharkey

    Like the family, the film occasionally comes apart at the seams. But Childers and Garner are absolutely mesmerizing as Iris and Rose.

    Los Angeles Times Full Review
  • Pete Vonder Haar

    It isn't until the ending, which turns the squirm amplifier up to 11 and exceeded even my horrific expectations, that we finally see the story's potential realized.

    Village Voice Full Review
  • Guy Lodge

    That We Are What We Are steers just shy of silliness even at its most outrageous is in large part thanks to a committed cast of non-disposable character actors.

    Variety Full Review
  • Peter Keough

    A grade A, meat-and-potatoes genre flick.

    Boston Globe Full Review
  • Jeannette Catsoulis

    It’s all a little silly, but Mr. Mickle’s restrained gravity stifles the impulse to laugh.

    The New York Times Full Review
  • Jordan Hoffman

    While ultimately gory — and a little dopey — this is no rowdy, exploitation-y, gross-out picture. This is a film where ambience, glossy imagery and performance are more effective than the splatter.

    New York Daily News Full Review
  • Joshua Rothkopf

    Outside of its cracked psychology (well conveyed by papa Bill Sage), We Are What We Are is horror leftovers, neither inedible nor piping hot.

    Time Out New York Full Review
  • Chuck Bowen

    Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.

    Slant Magazine Full Review
  • Michael O'Sullivan

    There’s some fun to be had, as long as your idea of fun includes being grossed out.

    Washington Post Full Review
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