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View All We Are What We Are News
All Critics (46)
| Top Critics (8)
| Fresh (33)
| Rotten (13)
An unexpectedly rich exploration of family bonds, blood rituals and the oftentimes zombie-like desire to assume the roles proscribed to each of us, played out with a sharp undertow of political allegory and darkly comic sensibility.
Unfolding in an impoverished neighborhood in Mexico City, this disturbing debut paints social decay with bold, elegant strokes and dizzying camera angles.
Grau's script is intelligent, and it has something to say about family and social dysfunction. You just might want to skip meat for a few days.
Like zombie auteur George Romero at his best, Grau locks his sights on his social commentary of choice and goes after it with the zeal of a 19-year-old cannibal girl sinking an ax into the skull of her next meal.
Grau effectively mixes wry, bloody, deadpan gags, family drama, and stomach-churning violence.
The characters' rapacious tendencies exist in a void, so all we get is numbing, meaningless viscera.
What could have been an intelligent rebirth for the cannibal genre... instead seems content simply to gorge, choke, and eventually suffocate on its own dullness and irrelevance.
Strikingly original in technique, it pays no heed to the old masters of Mexican film; alluding only indirectly to present social conditions, it rewrites the horror genre with a premise that is outrageously novel.
A competent barebones transfer of a horror film that deserves to win a wider audience among the Netflix crowd.
Grau equates his cannibal family much like Tobe Hooper's Texas clan - as disenfranchised poor people living on the fringes of society struggling with their own familial power structure.
If the resulting work ultimately fails to completely marry its disparate goals, it's to Grau's credit that he manages to make this slow-burning horror drama work as well as he does.
Takes a what-if situation and drives it rather unimaginatively into the exact places you might imagine it would go.
Stunning Mexican horror film, heavily influenced by LÃÂ¥t den rÃÂ¤tte komma in. A family of cannibals struggles after the death of the father, who was in charge of getting the...well, food. Minimalistic setting and score compliment this drama favorably. Outstanding cinematography and a top-notch cast make Somos Lo Que Hay the best Mexican film in recent years to slip under the radar. Writer/director Jorge Michel Grau manages to throw in some important commentary on how cynical and cannibalistic we can be as a society.
Mexico's Tony Manero
"We Are What We Are" is an adequate and bitter family-drama with a compelling storyline and a hint of horror . The movie takes place in a brooding atmosphere and a sub-plot of socio-political criticism, in this case Mexico, but most developing countries of America can be identified with it.
Let yourself be bitten by these cannibals, it certainly deserves a viewing.
Mexico's new wave of indie cinema has yielded wildly uneven results, but something has always been consistently good: the cinematography. So, it's a pleasure to find out that Somos Lo Que Hay not only looks great, but it's also a very good movie. Part of what is so engaging are the characters, which are very well written and portrayed by a talented cast; you feel for them, even root for them, even if the are... well, what they are. A well-paced, serious horror movie that doesn't just gloat on violence.
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