if you like rape, you'll love The Last House on the Left. The rest of America with normal sensibilities probably doesn't have the stomach for this film.
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
Brutal, bloody, and bleak, The Last House on the Left is a rarity in an age of tepid remakes.
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.
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.
Boy, words can not express how much I just loathe and detest this movie.
Substitutes general 'intensity' for every thorny stylistic and political particulars that made Craven’s film so singular.
The movie means to be about how violence makes animals out of all of us, including the vengeful parents. Unfortunately, that also includes the audience.
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.
The remake kind of neuters the unpredictable (and sometimes wild) characters in the service of making them less ethically complicated.
The requisite studio-movie gloss reduces the gritty, documentary-style efficiency of the original.
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.
There are so many elements, you really don't know what's coming next, even though you know exactly what's going to happen.
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.
What registers now is the simple cruelty of fate, as unlucky coincidences lead to the direst of consequences.
I'm giving it a 2.5 in the silly star rating system and throwing up my hands.
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March 12, 2009:
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