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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
Wes Craven's 1972 classic has been reworked but it has lost the edge-of-seat suspense which made the original one of the best of the genre.
This year's model, lacking any meaningful context of its own, is reactionary, conservative - existing purely as a slick commercial venture, more grisly grist to the multiplex mill.
Though often well acted and at times impressively directed, the new film eliminates Craven's ugly-to-the-core visual style, tones down the violence and softens the bleakness of the original premise, yet in doing so it becomes more problematic.
This is the kind of movie that prompted Michael Haneke to make Funny Games twice, and while I loathed that moralistic scold of a film, Last House almost made me concede Haneke's point.
Director Iliadis creates undeniably tense moments in, but the depravity is so gratuitously in-your-face that even a seasoned film critic might baulk.
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.
Has plenty of gore and a run-of-the-mill, unimaginative plot that feels tedious, pointless, inane and insipid.
Boy, words can not express how much I just loathe and detest this movie.
All the slickness works against the remake because it helps to distance the audience from the unpleasantness on the screen.
The Last House on the Left is reverent to his original. Too bad it's not as nasty.
Someone somewhere will probably try to foist The Last House on the Left remake off as some sort of social commentary. Don't be fooled. It's not.
While director Dennis Iliadas has no trouble capturing depravity, as the film wears on the script lets him down.
A banal, insistently juvenile venture that climaxes loudly from its own gaudy sadism, reveling in sexual violence to a blinding degree that spotlights brazen incompetence over any fundamental genre manipulation.
The requisite studio-movie gloss reduces the gritty, documentary-style efficiency of the original.
I was all set to give Iliadis credit for using extreme subject matter to ask smart questions about right, wrong and human nature. But then, he unleashes an unnecessary (albeit original) final scene that erases any doubt.
It has none of the underlying humanity of that other revenge thriller Eden Lake, and by the end I found the experience repulsive and deeply exploitative of its audience's worst instincts.
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