The new version is tamer than the original but still dwells unpleasantly on the daughter’s rape; this made me ill-disposed towards the ensuing scenes of violent payback.
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.
Rated: 18 [See Full Rating] for sadistic brutal violence including a rape and disturbing images, language, nudity and some drug use.
Runtime: 1 hr 50 mins
Genre: Horror/Suspense
Theatrical Release:12-06-2009
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
A grimly effective new version of the notorious Last House On The Left.
Dennis Iliadis’s remake retains its ferocious power and provocative themes, and thanks to a focused script that unfolds in real time, it ratchets up the suspense and sucks us into a remorseless cycle of violence and revenge.
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.
A dismal reminder of just how starved Hollywood studios are for good ideas.
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?
This clanging cover version believes in nothing, not even its own nihilism, and the horrors it portrays leave us colder, but not wiser.
Its biggest shock is that there's much to praise, with a couple of stellar performances complementing the mounting tension and intriguingly twisting narrative.
Director Iliadis succeeds by building tension and putting everyone at unease rather than grinding out cheap shocks.
This is not a horror, it’s a thriller and as a thriller it’s moderately effective but as it a film it won’t leave you feeling entertained or thrilled, just a bit uncomfortable.
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.
A thoroughly nasty rape revenge tale that's short on logic but strong on blood and brutality. An unpleasant movie experience.
A thought-provoking ordeal is repackaged as a middling shocker which leaves you feeling good about revenge.
The cast bring a level of reality to this that's surprisingly impressive.
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.
Director Iliadis creates undeniably tense moments in, but the depravity is so gratuitously in-your-face that even a seasoned film critic might baulk.
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