Frank Parker is a formidable and highly religious man who takes his family traditions very seriously. He, his wife and two daughters Rose and Iris live comfortably in a small shack in a remote part of the Delaware County, but their security is threatened when a disastrous storm strikes and the river begins to flood. Mrs Parker suffers from a rare neurological disease and soon passes away leaving her family devastated. They vow to carry on the family customs, however, as Frank lands Iris with a huge responsibility. They are ritualistic cannibals, and she must be the one to bring in the food this time. However, when bones wash up on a nearby river bank after the floods, the authorities are drawn near and suspicion starts to arise surrounding the mysterious family.
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Even though this is an extremely well-made film, it's difficult to know who will enjoy it, as it's far too arty for horror genre fans and much too grisly for arthouse moviegoers. But those who like something a bit different will enjoy it, especially since this remake takes a very different approach to the original 2010 Mexican film. Both films are about families who indulge in cannibalism as a long-standing tradition, but the similarities end there.
This version is set in small-town America, where an unusual number of young women have gone missing over the years, and a recent flood has unearthed human remains downriver from the Parker family farm. Frank Parker (Sage) is in mourning after his wife dies in the storm, and responsibility for the family's Lambs Day feast now falls to eldest daughter Iris (Childers), assisted by younger siblings Rose and Rory (Garner and Gore). But Iris is reluctant to carry out the gruesome tradition, and would rather hang out with cute young Deputy Anders (Russell). Meanwhile, Frank is increasingly worried about nosey neighbour Marge (McGillis) and the investigations of the local doctor (Parks) and sheriff (Damici).
"This is what we do," the Parkers remind themselves as they prepare their dinner of human stew. And screenwriters Mickle and Damici really dig into the family's past, which stretches to events nearly 240 years earlier, stirring American history into the intriguing cultural subtext. Mickle also remembers to freak us out with hints and suggestions in every scene, from ominous noises in the Parker's shed to a secret journal that outlines the family's traditions. The actors play their roles just below the surface, with muted emotions and subtle glances that tell us more than dialogue ever could.
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Raised in an cloistered religious community in Utah, Rachel (Garner) has just turned 15 and believes that she's pregnant because she listened to some illicit pop music. Her parents (Watros and Zane) think otherwise, blaming her brother Will (Aiken) for this "immaculate" conception. But instead of face an arranged marriage to a stranger, Rachel runs off with Will to Las Vegas. There they meet Clyde (Culkin), a young rocker who challenges everything they've been taught and changes the way they see the world.
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Claireece Jones (Sidibe), known as Precious, is a troubled 16-year-old pregnant with her second child. Even though she's good at maths, she can't read or write, so she's sent to an alternative school to work with the inventive and caring Ms Rain (Patton). But as she talks with her social worker (Carey), the realities of her life at home with her cruel mother (Mo'Nique) become increasingly worrying. Can this new school offer her a chance to discover something good about herself and maybe begin to head in a positive direction?
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Described in the credits as "science fiction" (a pretty loose use of the term), The Girl From Monday represents another genre leap for Hartley, following his 2001 Beauty and the Beast fantasy, No Such Thing. Well, if you're a typical sci-fi fan, be forewarned: There are no special effects -- minus thugs in funny helmets -- and there's really nothing terribly innovative in the storyline department.
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Those are the first words spoken in Mysterious Skin, and they come from Brian Lackey (Brady Corbet), a distressed 18 year-old, born and raised in a small Kansas community. The last thing he remembers about that night is rainfall interrupting his softball game, and then waking up at home with a nosebleed, five hours later. Plagued by unexplainable nightmares, blackouts, and more nosebleeds, Brain is convinced aliens abducted him during those mysterious five hours of his youth...
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"American Psycho" could be called a personality sketch of a serial killer, but Patrick Bateman doesn't have a personality. His entire existence is a facade.
"There is an idea of a Patrick Bateman," he says in a chillingly apathetic voice over, "But there is no me. I simply am not there."
What is there in this icy, incisive adaptation of Bret Easton Ellis' controversial and bloody psychological thriller -- published in the wake of the Reagan-Bush era -- is an extremely black satire of 1980s aggressiveness and indulgence with a succulently twisted wit.
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'Smalls Change (Meditations Upon Ageing)' arrives in April.
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Frank Parker is a formidable and highly religious man who takes his family traditions very...
Even though this is an extremely well-made film, it's difficult to know who will enjoy...
Slow and introspective, this involving drama wobbles slightly as its plot takes a few contrived...
The summer I was eight years old, five hours disappeared from my life. Five hours,...
"American Psycho" could be called a personality sketch of a serial killer, but Patrick Bateman...