Iliadis knows a little something about mounting dread, as his slick camera work is constantly looking just past the brush for something creepy that may or may not be there. That's about as far as the praise goes for The Last House on the Left.
The Last House on the Left (2009)
Tomatometer
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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
All the slickness works against the remake because it helps to distance the audience from the unpleasantness on the screen.
A thoroughly nasty rape revenge tale that's short on logic but strong on blood and brutality. An unpleasant movie experience.
Terrifying. Director Iliadis burns tension and Garret Dillahunt still scares me. Makes Ned Beatty's Deliverance rape look like a romance.
Craven's version was sloppy and amateurish and felt like a disturbing home movie. This one feels like a Hollywood movie, like a product to be sold.
Iliadis is more visually sophisticated than Craven was in 1972 and works hard to sustain the mood and tension while still hitting the audience with blunt scenes of wincing violence.
Crafted with such professionalism it might be the story of Gandhi rather than a wallow in rape, murder and the vengeance of the parents (who, true to the domestic associations of the title, dispatch the evildoers with garbage disposal and microwave oven).
This film is only for those who go in with open eyes and understand what they're in for.
For what it is, it's effective. But lost among the bloodlust is any sense of these characters as human beings.
Remaking Last House on the Left seemed like a dubious proposition at best...yet somehow the new HOUSE works better than expected.
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.
More a thriller about family ties taken to unimaginable extremes than an attempt to engage with any real subtext.
Last House on the Left stands as the second Craven remake where the new filmmaker manages to get more right than wrong.
The narrative structure is ingenious and sexual assault is at least shown as having dramatic and human consequences of some sort, if only in the context of revenge. Wasn't the original movie enough?
It must be said that The Last House on the Left is really well done, with impressive performances, masterful creation of dread and tension, perfect pacing, intense storytelling, haunting cinematography, truly sickening sound effects, and all.
What's most disappointing about the 2009 version is that it strips all the moral ambiguity from the 1972 original of the same name.
Those viewers trapped in the film's nihilism and hoping for more can amuse themselves by looking at the film as an Aristotelian tragedy--take that, Friday the 13th remake!
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