First-time director Dennis Iliadis spices up the visual style with unusual camera and cutting choices that liven the tempo beyond typical horror-movie cliché. Time will tell whether or not this Last House launches his career.
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
The Last House on the Left is reverent to his original. Too bad it's not as nasty.
In comparison [to Craven's original], Ililadis's remake is like the difference between Rob Zombie's "House of 1000 Corpses" and "The Devil's Rejects" - times ten.
For what it is, it's effective. But lost among the bloodlust is any sense of these characters as human beings.
The latest remake of an old story, in which escaped criminals unknowingly seek shelter at the home of their latest victim's parents, The Last House on the Left wallows in sick sadism while missing the point completely.
For what it is...The Last House on the Left is effective. The problem lies in what it is--a pure exercise in sadism unencumbered by any larger concerns.
The remake kind of neuters the unpredictable (and sometimes wild) characters in the service of making them less ethically complicated.
Substitutes general 'intensity' for every thorny stylistic and political particulars that made Craven’s film so singular.
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.
It's a typical neo-horror thriller that replaces suspense with grotesque clinical violence.
The Last House on the Left is the best in the latest crop of slasher remakes. Admittedly, that is faint praise.
This film...is what it is: a stark story of bloodthirstiness quenched, first by the obvious antagonists, then by sympathetic, civilized characters who avenge the atrocities that have come before.
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!
Audiences with a brain cell left have only one choice: Look for the first exit on the right.
Dennis Iliadis is able to make a cult classic once told, feel relevant and terrifying all over again.
Its main goals are to shock, titillate, enrage and otherwise jolt your reflexes, which it does shrewdly and successfully.
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.
It fails to provide much in the way of entertainment value thanks to scenes of violence that turn its otherwise escapist gore into a harrowing and often hard-to-watch reality.
I'm giving it a 2.5 in the silly star rating system and throwing up my hands.
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