So, Bill Sage, who plays the father in We Are What We Are (Saturday’s review) read the review, and I don’t think he was too impressed. He was polite enough about it though…
The review can be read here –
The vote for Friday’s review is up and you can select a film at the bottom of this post. If you’re from the UK, you can still register for the mailing list for a chance to win Hellraiser Revelations on Blu Ray (the copy used to review) by clicking on the link on the left if using a standard browser, or from the button with the three lines at the top right if using a mobile browser.
Other than this blog, and real life, I’m working on a zombie survival game. At the moment, I’ve just got the spread of zombies algoryhtm going (it may need tweaking to make the game longer or shorter, and, if you try it with the population of the world, it takes a long time to reach The End). I’ll be posting updates on it as and when there’s something to update you on.
As well as We Are What We Are, I did watch The Babysitter on Netflix last night. Found it enjoyable in a Tucker and Dale vs. Evil sense, if not groundbreaking. I’d recommend it if you have an hour and a half to spare.
Well, it’s a day late, but today’s review is We Are What We Are (I was at the Wolves Vs Preston match today, so didn’t want a hangover). I’m actually going into this one with some enthusiasm and optimism, unlike others of late. Fingers crossed.
OK. Cinematography is a cut above what I’m used to, and it’s by ‘Uncorked Productions’, which is cool.
That pig sign looks like the one from the Delicatessen sign (good film).
Heh. Children burping. My son burped the other day and said it had gone up to God.
That’s rain. The sort of rain that makes you feel wet even when you’re inside. You can’t escape it.
Would they really ask a daughter to identify a corpse because the dad is still grieving. No. Scratch that question. What sort of dad would make his daughter do it?
I think Resident Evil 7 has the creepy hillbilly family thing cornered at the moment.
We don’t seem to be headed anywhere at the moment. Obviously the death of a mother is a momentous thing. But, we don’t know them. Why should we care? I think the director is too interested in showing us how clever he is in constructing scenes and shots (and he is, although some of the acting doesn’t help, the children and father not withstanding – they are excellent) than constructing a compelling narrative.
Suddenly the shots have gone all foreground/background focusing (I don’t know the proper terminology). Were the scenes in the police station shot by someone else?
I get the feeling this film is about a big twist and is wasting time because theres not much else to it. Like when you have a 5000 word dissertation and you pad it out with unnecessary words.
They could focus on the young boy – see the world through his naive eyes.
Something might happen soon.
I’m no love guru or anything, but, Deputy Creepypants, turning up at a girl’s house, after dark, on the night of her mother’s funeral and asking about a missing person is not a good leadup to asking her out.
This film has pretentions of being an arthouse film, but the narrative does not lend itself to being one. At the moment, I am thoroughly bored. I was sort of hoping this would be a hidden gem, like Bounty Killer, but in a more intellectual way.
The whole film should have been wrapped up ages ago. There’s been nothing to engage and I don’t really care much about the characters.
Nice frying pan sound.
The end would have been shocking if I’d have cared about anything that preceded it. Maybe they could have made more of the relationships in the family or something. Given the end some purpose. This country music at the end just feels like someone trying to be ironic.
Catering was by Tribe Road Catering. Head chef was Andrew Gilbert.