A grimly effective new version of the notorious Last House On The Left.
The Last House on the Left (2009)
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Reviews Counted:135
Fresh:56
Rotten:79
Average Rating:4.9/10
Consensus: Excessive and gory, this remake lacks the intellectual punch of the 1972 original.
Australian Theatrical Release:
Oct 15, 2009 Wide
US Box Office: $32,721,635
Synopsis: Based on Wes Craven's landmark 1972 exploitation flick of the same name, LAST HOUSE ON THE LEFT is a brutal movie that exposes the darkest recesses of human depravity. The simple plot follows four... Based on Wes Craven's landmark 1972 exploitation flick of the same name, LAST HOUSE ON THE LEFT is a brutal movie that exposes the darkest recesses of human depravity. The simple plot follows four criminals on the lam who encounter a pair of nubile female teens in a small mountain town. After murdering one and brutally raping the other and leaving her for dead, the cons seek refuge at a nearby summer house. The twist is that it's the very home inhabited by the parents of one of the victims. Upon learning that their house guests raped and tortured their 17-year-old daughter, the couple exact a revenge that arguably exceeds the excesses of the sociopathic gang. When originally released in 1972, LAST HOUSE ON THE LEFT was a shock to the system. Never before had a film shown such images of human wickedness. Grainy and low budget, the original film played like a maniacal cackle from the seedy underbelly of an America nursing a brutal post-Aquarian hangover. Things play out a little differently, though, in 2009. For starters, the movie actually looks quite beautiful, and the story’s idyllic mountain setting is milked for all it's worth. The performances are noteworthy as well, with Garret Dillahunt more than convincing as Krug, the gang's swaggering leader; and Monica Potter and Tony Goldwyn portraying the distressed parents with an effective mix of panic, courage, and blind instinct. In an age marked by both increasingly ghastly films and a public discourse that actually debates the merits of institutional torture, a film like LAST HOUSE ON THE LEFT really shouldn’t shock anyone. But in both the original and the remake, there’s a latent nihilism that permeates the world. The idea of a sense of lawlessness that cannot be understood or prevented, but only reacted against, is truly disquieting and makes this story unique in the annals of horror. [More]
Starring: Tony Goldwyn, Monica Potter, Sara Paxton, Garret Dillahunt
Starring: Tony Goldwyn, Monica Potter, Sara Paxton, Garret Dillahunt, Martha MacIsaac, Riki Lindhome
Director: Dennis Iliadis
Director: Dennis Iliadis
Screenwriter: Carl Ellsworth
Producer: Wes Craven, Marianne Maddalena, Sean Cunningham
Composer: John Murphy
Studio: Rogue Pictures
Reviews for The Last House on the Left
in its way [the film] out-Hanekes Haneke (without feeling like a lecture), by confronting us in the end with what we expected (and possibly also desired) all along from this kind of movie.
Its biggest shock is that there's much to praise, with a couple of stellar performances complementing the mounting tension and intriguingly twisting narrative.
While at the hands of a less competent director, Last House could have been an epic failure, but Dennis Iliadis has proven to the world that he's more than capable of directing a film of this caliber - and taking it to a higher level.
Given my particular distaste for both remakes and rape-revenge movies, I was as surprised as anyone to find that this is a better horror movie than it probably should be.
With an incredible performance by Garret Dillahunt and great supporting work by Monica Potter, Sara Paxton, Tony Goldwyn, and others, Last House is the best mainstream horror movie in a long time.
The Last House on the Left is alternately gross, brutal and difficult to watch. It's also arresting entertainment as its revenge tale kicks into overdrive.
As an exploitation B-horror movie, this latest addition to the genre is heads and shoulders above anything Rob Zombie has ever done.
Extremely entertaining if you don’t mind being morally corrupted at every juncture.
Enthralling, mature and full of measured tension. The Last House on the Left is no The Virgin Spring, but it beats the pants off of its direct thirty-seven-year-old predecessor.
Director Iliadis succeeds by building tension and putting everyone at unease rather than grinding out cheap shocks.
There's something admirable about a film that so effectively taps into a viewer's primal instincts.
Craven himself has said that the 2009 is a marked improvement over his film and some fans I know balked at such a statement. Only the truth is they should keep repeating to themselves, 'Craven was right. Craven was right.'
... superior [to the original] in that it makes clear the conflicting justification and degradation of the retaliation, establishing a grayer level of morality.
There are so many elements, you really don't know what's coming next, even though you know exactly what's going to happen.
Brutal, bloody, and bleak, The Last House on the Left is a rarity in an age of tepid remakes.
I suspect the movie's sound designers deserve some kind of an award: thanks to them, the damage one can inflict with small appliances and a giant grudge is all too clear.
More a thriller about family ties taken to unimaginable extremes than an attempt to engage with any real subtext.
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March 12, 2009:
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