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.
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
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.
There’s little to set this latest Last House apart from other revenge-themed horror flicks of the past 30 years.
In the end, like virtually every other remake that has been released recently, it's polished and predictable.
A shockingly mundane disappointment taken on its own and a deeply misguided refraction of the original.
Do not go to this movie if you simply seek entertainment. If you're a sociologist tracking the decline of civilization over the past four decades, you're in for a night of solid research.
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.
While director Dennis Iliadas has no trouble capturing depravity, as the film wears on the script lets him down.
The remake is much glossier but also takes place mostly in real time, using long takes, genuinely disturbing violence and stretches with no dialogue to pin you to the story.
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.
Stripped of that sociological context, the extreme brutality here can't help but feel more than a little exploitative, especially where the film's female victims are concerned.
If you want good revenge read some Shakespeare, if you want blood see a slasher, if you want to waste two hours then visit the last house on the left.
Unlike the slew of Michael Bay- produced slasher remakes, this is not an idea-free flick. And Craven (shepherding producer on this remake) believes in character. More, he believes, in engaging what the word "horror" means.
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.
In this era of torture porn, this film seems intent on reconnecting audiences with the power and intensity of real-life, even quiet and casual creepiness.
What registers now is the simple cruelty of fate, as unlucky coincidences lead to the direst of consequences.
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March 12, 2009:
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