Often with English-language remakes, the most you can hope for is that the director brings something new to the table and doesn’t resort to shot-for-shot repetition. What Jim Mickle has done with his reimagining of Jorge Michel Grau’s Somos Lo Que Hay is something altogether more unlikely: a remake that vastly improves on the original.
Grau’s 2010 horror delivered strong
ideas and performances
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but flailed when it came to a captivating story; Mickle’s vision is altogether more cohesive and striking, captivating its audience with slow-burning chills
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that lead to an unforgettable climax.
Straight from the off, it’s clear that Mickle isn’t interested in straightforward copying. Instead of the death of a father, his central family with dark secrets are rocked by the death of its matriarch, and with two daughters instead of two sons, the dynamics are immediately shifted. It falls to eldest daughter Iris (Ambyr Childers) to
carry on the family tradition which, if you’re unaware of the original film, involves a rather acquired taste in meat. Smartly, Mickle throws a further element into the mix that Grau’s film sorely lacked in the form of an emotional core; here,
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that’s provided by the ever-reliable Michael Parks as Doc Barrow who, with his daughter still missing, decides to take a closer look at the family after a strange discovery in a nearby stream.
With Mickle thoroughly invested in his characters, We Are What We Are isn’t the gorefest that its concept might portray and as such, the performances are crucial to its success. Bill Sage is superbly explosive as the family’s father Frank, but it’s the duo of Childers and Julia Garner (Electrick Children) who create the biggest impact. Both are equally magnificent as the two girls whose lives have
been thrown into potential turmoil, who must fight decide whether or not to fight against their father, and tradition, to make a change.
It’s partly thanks to them that
the film’s ending works as effectively as it does. Where the original descended into an over-the-top and conventional police vs. the family situation, Mickle delivers a perfectly fitting denouement to his otherwise understated film that subtly escalates to a remarkably visceral and shocking climax. As a result of Mickle fleshing out the backstory with some smart flashbacks, his ending feels more definitive and meaningful, resulting in it packing as much of an emotional punch as a visual one.
We Are What We Are will be released in UK cinemas on 25 October.