“A Millenial Fuck-Fest” -Haddonfield Horror

“Aimless, despicable teens are nothing new in films (Kids, Thirteen or generally any Larry Clark or Harmony Korine film) but the kids in We give them all a run for their money. The entire ensemble is excellent together….A millennial fuck-fest with any thoughts of love or care kept to themselves, it is all about the instant gratification whether the poison is sex or death.” – Ryan Morrissey-Smith, HaddonfieldHorror

WE: “Smart, confrontational, well-acted and stunningly edited modern fable” – Critical Critics

“The bold debut, We‘s setup is a typical teen movie: A group of friends find a shack in the woods and use it as a base for their summer of fun. Except such fun is comprised of polyamorous sex, followed by prostitution, blackmail and death. With its disarming rawness and anything-goes attitude, We has some of the debauched energy and moral grayness of early Larry Clark, although Eller is more stylish and more arch. There are certain shades of Yann Gonzalez’s “You and the Night” in its blend of heightened drama and kinkiness run amuck, and one hardcore scene recalls Lars von Trier’s “The Idiots.” A smart, confrontational, well-acted and stunningly edited modern fable about the unleashing of the id.” – Rupert Harvey, TheCriticalCritics

“WE Hits Hard Like a Modern Day Larry Clark” – Cinapse

“Within minutes of [We’s] start the teenage ensemble is mostly naked filming their own pornography in a scheme to make some money. Soon pornography gives way to prostitution. Then makeshift abortions, horrible accidents, and untimely deaths. The film certainly has its shocking moments and they aren’t few and far between either. Fans of Larry Clark’s Kids and Bully or Harmony Korine’s Gummo will find a lot in common here in regard to both style and themes. As in those films, there’s a nihilism that’s drives the film and a sense of danger that continually builds. Even when we, as viewers, can see what’s coming next, the anticipation is horrifying and dread inducing. This may not be a life changing film for all, but it surely will be for some… It’s uncompromising and filled with complicated and confusing emotions. In the end, it all comes to a head, a catharsis that is somehow equally fulfilling and not. In the end, the films will have you wondering why and if anything in this world even matters.” Justin Harlan, Cinapse

Cinapse’s Justin Harlan Calls Artploitation a, “smut peddler.” Lawsuits fly!

It is not every day we are called “smut peddlers” and find it a compliment! And truth be told, it is a little out of context. What Justin Harlan of the esteemed Cinapse.co wrote in the intro to his film review is that We is, “the latest release from Philadelphia’s purveyors of art, smut, and bizarre genre fare from around the world. ..one thing is certain when you pop in an Artsploitation disc — you’re in for a wild ride.” Thanks, but now we need to get back to watching Thawed Vaginas a Russian art film about sex-deprived Siberian teens.

Artsploitation’s Ray Murray Working the Streets

DoBlu: WE is, “explicit, shocking, remarkable, disturbing, fascinating”

“An explicit coming-of-age tale that would fit quite easily into Larry Clark’s filmography. An amoral but fascinating tale of teen corruption…Shocking and unsettling, there’s a ring of truth that works its way through the narrative. The cast is remarkable, painting a lucid but dark portrait of wayward teenagers becoming inhumane predators. A convincingly truthful scenario of normal teenagers gone bad, We is nearly pitch-perfect…Rene Eller’s willingness to push the boundaries of teen sexuality and nudity on screen might seem like pornography but ends up justified in the darkest recesses of We’s disturbing tale.” Christopher Zabel, DoBlu

Film International, “WE “Is disturbing…Artfully made”
The Kids Are Not Alright

“Despite a few brief scenes of erotic content, copious nudity, exhibitionism, and naturalism, as well numerous sex scenes, We is not designed to be arousing. Much of the content is disturbing. We, however, itself is artfully madeWe holds viewers’ attention. Sometimes, however, it is hard to watch.We never sensationalizes its characters or their actions (like Paul Verhoeven would). Eller plays things in a matter-of-fact style that redeems it (but not the characters). Herein lies the strength of what could have been just another jaded youth film.  Gary M. Kramer, Film International 

WE Is, “A masterpiece” – The Inner Circle

WE Is, “A masterpiece…The Inner Circle, “Won’t forget anytime soon”

“This is a hard watch, I won’t deny that…the violence and destruction left in the wake of these kids is pretty obscene but this is a great movie. Rene Eller’s feature film debut is a masterpiece and a sharp rebuke to parents who aren’t paying close attention to their kids. While “We” won’t be a film you may like, it is a film you’ll take notice of and never forget. I know we won’t forget anytime soon…..” – The InnerCircle

TNHorror Calls WE, “Unforgettable…I felt dirty as fuck watching.”

“Unforgettable…this isn’t your run of the mill horror movie. This is more like a coming of age story, but the ones coming of age are really fucked up…there’s a dark underbelly to this movie; it’s a story about the narcissism and nihilism that can only come from inexperienced youth. It’s a dark, dirty, mean-spirited film that gets darker and meaner as it goes. I felt dirty as fuck watching. The writing is incredible. The plot twists are like short jabs to your gut; they come in rapid succession and leave your mouth agape. It’s a really beautiful and engrossing film. If you let it, this film will pull you in quickly and won’t let go until long after the credits roll. This is a film that will stick with you for awhile. This is the kind of horror that reflects real-life horrors and if you’re in the mood for a gorgeous downer of a film, We is what you’re looking for.” Yeti, TNHORROR

WE is “Compelling” but its “obscenely graphic sex scenes…painful to watch.”

We is beautifully shot and superbly edited…The youngsters’ skillful ability to portray their characters, together with a haunting soundtrack, makes it a compelling watch. Let’s be clear, though, as a (nearly) middle aged woman, I found We truly painful to watch – striking and obscenely graphic violent scenes had me covering my eyes, feeling queasy and hoping for it to come to an end as quickly as possible. I spent hours in a daze after watching it and it disturbed my sleep that night. Maybe I’m not as desensitised as I would like to be, or maybe I am becoming too vulnerable to violence as we live in a society where violence against other human beings has become the new normal and watching gratuitous ferocity is simply too much for me. Nevertheless, it is an outstanding picture in its ability to shock, challenge and frustrate its audience, and praise is certainly due.” – Alton Williams, BRWC

The Independent Critic’s Richard Propes Calls WE, “A pitch dark glimpse into the collective soul of a millennial generation”

We may very well be more disturbing than either of the cinematic adaptations of [Bret Easton] Ellis’s work, Mary Harron’s American Psycho and Marek Kanievska’s Less Than Zero, both of which largely chose style over substance and paled in comparison to Ellis’s masterful writings. Eller, on the other hand, has created a cinematic endeavor of quiet brutality, a pitch dark glimpse into the collective soul of a millennial generation where one is imprisoned by freedom and isolated within the communal experience. I’d dare say that We is so shockingly explicit that the vast majority of critics won’t have the presence of mind to actually review the film itself, instead focusing on its explicit nature. We most certainly isn’t a film for everyone. The film’s explicit nature alone will likely have the more timid moviegoers cowering in a fetal position crying out for their mama, but Eller’s unflinching and honest portrayal of disconnected youths and a generation on its collective last gasp will likely resonate with those who prefer cinema that challenges and artists with enough integrity to tell an uncomfortable story uncomfortably.”  – Richard Propes, The Independent Critic