We Are What We Are (2013)

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.

Fmovies: 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 h

A reclusive family prepares for its unique yearly tradition during a torrential rainstorm in We Are What We Are, a horror thriller that provokes neither horror nor thrilled reaction. The movie is paced a little bit too deliberately, and moments that should frighten with their suddenness are telegraphed well ahead of time by way of lingering, loving tracking shots. It's a movie without a message and with a minor- league plot, where solid performances are betrayed by an ungratifying ending and unrealistic (and unexplained) character development.

I wanted so badly to like this movie. It's a horror film, part of a genre that appeals mostly to a particular set of people. Most people don't seem to just sort of tolerate horror movies; they're usually rabid fans or equally opinionated detractors. In any event, the intrigue of what a quiet, religious family in the middle of the woods might be up to attracted me to the film. Even after I discovered their secret (which may be common knowledge by now, but I won't spoil it), I was curious to know more - the family's folklore and what would happen to them by the end of the movie.

The Parker family is led by Frank (Bill Sage), a heavily bearded man of few words, the kind of guy who brooks no disobedience within his family. Very early in the movie, we meet Emma (Kassie DePaiva), Frank's wife, as she visits a local store for some last-minute items before the storm hits. It's soon evident that Mrs. Parker isn't quite right, and she quickly passes. This means that her responsibilities regarding the family's annual Lamb's Day are inherited by the eldest daughter, Iris (Ambyr Childs). Suddenly, Iris and her 14-year-old sister Rose (Julia Garner) are more involved than they have in the past, thus leading to internal doubts while they protect their little brother Rory (Jack Gore).

Part of the suspense is supposed to involve what actually occurs on Lamb's Day. After Emma dies, a beloved book of hers is passed down to Iris, who learns it's been in the family since the 1700s. But most of what Iris reads is not news to her, and after we've heard just a little bit we can quickly grasp the situation. At this point, Iris, Rose, and Rory are presented as wholly sympathetic, unable to disobey their father but still complicit in his and their own actions.

Meanwhile, as the store abates, the local doctor (Michael Parks) makes a discovery in a creek behind his house that begins to lead him toward the Parkers. Soon, law enforcement in the person of Deputy Anders (Wyatt Russell), is involved as well. We know what they've found, and we're able to seamlessly connect the find to what the Parker clan has been up to, so the suspense on that front is neutralized. The only remaining question is whether Frank Parker - and his kids - will emerge unscathed.

Suspenseful movies, when done right, can expertly manipulate one's sense of dread. A tracking shot as a person approaches a closed door, then reaches for the handle; that can be very spine tingling. But similar shots in this movie took so long to develop that it quickly became obvious what was going to happen next, sort of the opposite of what a director would want his audience to feel.

When we do arrive at the concluding scenes of the film, we're met with an ending that's so over the top that it jumps over the line of sanity into full-blown ludicrousness. It just doesn't make sense for some characters to behave one way for 99% of the film and t

We Are What We Are fmovies. Dark, slow but steady film about the apparently normal Parker family, who share a macabre secret ritual. Excellent acting and cinematography bring an immediate realism that really carries this film. WARNING: If gore and grossness get to you, stay away. While WE ARE WHAT WE ARE is not just a constant schlock-fest, there is some pretty disturbing stuff here: Short but graphic scenes of an autopsy, etc.

There's been some debate about whether or not WAWWA is really a horror film, and I would vote a definite "yea" even though the whole mood and atmosphere are different (and better in many ways) than most contemporary horror flicks. There are some elements of suspense, but you know the big "secret" before it's halfway through--the cover also gives a decent hint--so it doesn't exactly work as a mystery. Regardless, the brief flashbacks to the family's ancestors in the 1780s add a great deal.

Though none of the individual elements here are anything that hasn't been done plenty of times before, WAWWA's whole combination of qualities make it a different experience. It's obviously low budget but still far from being another super-amateurish cheapie. The makers of this film did an excellent job with what they had to work with. There are some blank spots--e.g., the body in the water--and a little stronger sense of place would have been nice. At the same time, it's probably better that they don't explain every little thing away.

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.

The Parker family is fasting following and old family tradition. When the matriarch, Emma Parker (Kassie DePaiva), goes to a hardware store in the nearby small town during a rainstorm, she does not feel well, has an accident and dies. Her husband Frank Parker (Bill Sage), who is the owner of a trailer camping area, grieves her death and forces her older daughter Iris (Ambyr Childers) to assume the responsibility for keeping the family tradition, feeding them and nursing her teenage daughter Rose (Julia Garner) and her young brother Rory (Jack Gore). He also gives Emma's journal to Rose with the history of their family to learn their traditions.

Meanwhile Sheriff Meeks (Nick Damici) and Deputy Anders (Wyatt Russell) are investigating cases of missing persons in the skirts of the town. Doc Barrow (Michael Parks), who lost one daughter that has disappeared, is carrying out Emma's autopsy and finds an important discovery that will connect the missing cases with the Parker family. What is the tradition of the Parker family?

"We Are What We Are" is a depressing and creepy remake of a 2010 Spanish movie "Somos lo que hay". The story is developed in slow pace in a depressive atmosphere and the acting is top-notch. Unfortunately the screenplay discloses the mystery too soon but the gore conclusion is gruesome and hard to be seen. My vote is seven.

Title (Brazil): "Somos o Que Somos" ("We Are What We Are")