
We Are Columbine
2019

2008
Not RatedDirector
Danny Ledonne
Runtime
94 minutes
Average Rating
No ratings yetSynopsis
Chronicles the history of the game "Super Columbine Massacre RPG!." The film traces back the 16-bit role-playing game to its inception, through the 2006 shooting at Dawson College in which the game was singled out by the media as a "murder simulator" that "trained" the shooter, and finally the game's removal from the list of finalists at the Slamdance 2007 Guerrilla Gamemaker Competition - prompting half the entries and a sponsor to pull out of the festival in protest. Written by tolka
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The documentary does not center on LGBTQ+ identities or narratives. While it explores subcultures on the margins, there is no explicit depiction of same-sex intimacy or non-cisnormative identities.
Gender Representation
The narrative focuses primarily on the psychological profiles of male perpetrators and societal reactions. It lacks a significant presence of female agency or the subversion of masculine norms.
Racial & Ethnic Diversity
The film focuses on a relatively homogeneous demographic centered around the specific American context of the Columbine tragedy. There is no evidence of significant racial blending or diverse casting.
Religious & Cultural Diversity
The film excels in its critique of traditional Western institutions. It deconstructs the media-driven moral panic and highlights how capitalist media entities utilize tragedy to reinforce social control.
Disability Representation
The documentary engages with the complexities of mental health and neurodivergence. It treats psychological states as nuanced, systemic issues rather than using them as mere plot devices.
Strengths
Areas for Improvement
AI Analysis
Playing Columbine functions more as a systemic critique than a demographic survey. It prioritizes the interrogation of institutional power and media-driven morality over a broad representation of various social identities. The film's strength lies in its postmodern deconstruction of how mainstream outlets manufacture truth. It moves beyond surface-level storytelling to examine the intersection of digital expression and societal scapegoating. However, the documentary remains narrow in its demographic scope. By focusing on the specific context of the Columbine tragedy, it lacks significant representation across racial, gender, and LGBTQ+ lines.

2019

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