the last house on the left

The Last House on the Left

Theatrical release poster

Directed byDennis Iliadis
Screenplay by
  • Adam Alleca
  • Carl Ellsworth
Based onThe Last House on the Left
by Wes Craven
Produced by
  • Wes Craven
  • Sean S. Cunningham
  • Marianne Maddalena
  • Tony Goldwyn
  • Monica Potter
  • Garret Dillahunt
  • Aaron Paul
  • Spencer Treat Clark
  • Riki Lindhome
  • Martha MacIsaac
  • Sara Paxton
CinematographySharone Meir
Edited byPeter McNulty
Music byJohn Murphy


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  • Rogue Pictures[1][2]
  • Craven/Maddalena Films[2]
  • Cunningham Productions[2]
  • The Night Company
  • Midnight Entertainment
Distributed byUniversal Pictures[1][2]

Release date

  • March 13, 2009 (United States)

Running time

110 minutes
  • United States[3]
  • South Africa[3]
Budget$15 million[2]
Box office$46 million

The Last House on the Left is a 2009 revenge horror thriller film directed by Dennis Iliadis and written by Adam Alleca and Carl Ellsworth. A remake of the 1972 film of the same name, it stars Tony Goldwyn, Monica Potter, Garret Dillahunt, Aaron Paul, Spencer Treat Clark, Riki Lindhome, Martha MacIsaac, and Sara Paxton. The film follows Mari Collingwood, a teenager who is abducted, raped, and left for dead by a family of violent fugitives. When her parents learn what was done vĩ đại her, they seek vengeance against the family, who have taken shelter at their summer home page during a thunderstorm.

The rights vĩ đại The Last House on the Left were picked up by Rogue Pictures in 2006, with the remake being the first film produced by Craven's newly formed studio Midnight Pictures. Craven, who wrote and directed the original film, was interested vĩ đại see what kind of film could be made on a larger budget, as the limited funds forced him vĩ đại remove scenes he had wanted vĩ đại film vĩ đại tell a complete story. One of the elements Iliadis wanted vĩ đại avoid with the film, given its graphic nature, was turning it into "torture porn". For Craven and Iliadis, the film primarily illustrates how even the most normal of families can be driven vĩ đại commit evil acts if pushed too far.

The original script by Alleca included elements of supernatural horror, which prompted the studio vĩ đại reject it and bring in Ellsworth for rewrites. Principal photography began in March 2008 in Cape Town and Helderberg Nature Reserve and concluded in May. The Last House on the Left was theatrically released in the United States on March 13, 2009, and was a modest box office success, grossing $46 million against its $15 million budget. The film received mixed reviews from critics, with several deeming it worthy of praise in comparison vĩ đại other horror films and remakes in general, while others considered it inferior vĩ đại the original.


Emma and John Collingwood, and their daughter, competitive swimmer Mari, head out on vacation vĩ đại their lake house. Shortly thereafter, Mari borrows the family siêu xe and drives into town vĩ đại spend some time with her friend Paige. While Paige works the cash register at a local store, she and Mari meet Justin, a teenager passing through town who invites them both back vĩ đại his roadside motel room vĩ đại smoke marijuana. While the three are hanging out in the motel room, Justin's family members return: his father Krug, his uncle Francis, and Krug's girlfriend, Sadie.

Krug becomes angry at Justin for bringing unknown people vĩ đại their motel room, and shows him a local newspaper that has Krug and Sadie's pictures on the front page, and which explains how Sadie and Francis broke Krug out of police custody and killed the two officers that were transporting him. Believing it would be too risky vĩ đại let Paige and Mari go, the gang kidnaps them and uses their siêu xe vĩ đại leave town. While Krug searches for the highway, Mari convinces him vĩ đại take a road that leads vĩ đại her parents' lake house; Mari then attempts vĩ đại jump out of the vehicle, but the ensuing fight among the passengers causes Krug vĩ đại crash into a tree.

Frustrated by Mari's attempt vĩ đại escape, Sadie and Francis proceed vĩ đại beat Mari and Paige as they crawl from the wreckage. Krug attempts vĩ đại teach Justin vĩ đại "be a man" by forcing him vĩ đại touch Mari's breasts. Paige begins insulting him vĩ đại get him vĩ đại stop; in response, Krug and Francis stab Paige repeatedly, and Mari watches her friend bleed vĩ đại death. Krug then rapes Mari, during which he pulls off Mari's necklace and throws it away. When he is done, Mari musters enough strength vĩ đại escape the group and make it vĩ đại the lake so sánh that she can swim vĩ đại safety. Krug shoots her in the back as she swims, leaving her toàn thân floating in the lake.

A storm forces Krug, Francis, Sadie, and Justin vĩ đại seek refuge at a nearby house. Justin is the only one vĩ đại deduce that the inhabitants, John and Emma, are Mari's parents, and intentionally leaves Mari's necklace on the counter vĩ đại alert them about their daughter. When John and Emma find Mari barely alive on their porch, and the necklace on the counter, they realize that Mari's tormentors are the people in their guest house.

As they try vĩ đại find the key vĩ đại their boat so sánh that they can take Mari vĩ đại the hospital, Francis happens upon Mari. Emma attacks Francis, and John kills him. When going after Krug and Sadie, who are in bed, they find Justin holding Krug's gun; Justin gives the gun vĩ đại John so sánh that he can kill Krug. Sadie awakens and John shoots and wounds her in the neck, allowing Krug vĩ đại escape through the window and into their house. Finding Francis dead, Krug realizes that they are Mari's parents. Sadie attacks John, then runs into the bathroom. John and Justin break in and Sadie beats them with a shower curtain rod, almost knocking them out until Emma shoots Sadie through her left eye, killing her. Krug hides, and attacks John and Justin when they tìm kiếm for him. Justin is stabbed by Krug, but with a combined effort from Emma and John, Krug is knocked unconscious. John, Emma, Mari, and Justin then leave in the boat for the hospital.

Later, John returns vĩ đại the cabin, where he has paralyzed Krug from the neck down. John places Krug's head in a microwave jury-rigged vĩ đại operate even with the door open. As John walks away, Krug's head explodes, ultimately killing him.


Cast of Last House on the Left at the premiere in Los Angeles, 2009



In August 2006, Rogue Pictures finalized a khuyễn mãi giảm giá vĩ đại remake The Last House on the Left (1972) with original writer and director Wes Craven as a producer. The company intended vĩ đại preserve the storyline of the original film.[4] In September 2006, it was announced that Craven had formed a production company, Midnight Pictures, under the umbrella of Rogue Pictures, and the remake for The Last House on the Left was selected as the company's first project.[5] One of the reasons Craven agreed vĩ đại remake The Last House on the Left was because of the money involved. In 1972, he did not have the budget vĩ đại film every piece of the story he wanted vĩ đại tell.

With the 2009 remake, a larger budget allowed the filmmakers vĩ đại pace themselves more during filming and expand the scope of the story. One of the ways vĩ đại accomplish this was for the producers vĩ đại find a "rising young director vĩ đại bring a new perspective for the story". Eli Roth was originally approached vĩ đại direct the project, as he had attempted vĩ đại get a remake of The Last House on the Left off the ground years prior, but Roth turned it down on advice from Quentin Tarantino vĩ đại instead film Hostel: Part 2 (2007). Dennis Iliadis was eventually chosen because the producers were impressed with his debut feature film Hardcore, which explored the world of teenage prostitution. Co-producer Cody Zwieg stated, "Hardcore wasn't a genre or a horror film but showed completely believable characters in horrific, realistic situations. Many directors could handle the surface elements, the blood and shock moments of Last House, but Dennis proved that he could tự it all without exploiting his characters and their situations." According vĩ đại Iliadis, he was quick vĩ đại accept the responsibility of remaking The Last House on the Left, having already been a người hâm mộ of Craven's and seen all of his films.[6]


"What would a typical family tự in such an extreme scenario? [...] We're asking ourselves through it: 'How are they going vĩ đại tự this? How would we tự it?' Then that poses the opportunity vĩ đại really explore the extreme nature. In terms of Krug - these are evil human beings. Humans are capable of evil shit all the time, so sánh it was a chance for bầm vĩ đại get into the R-rated version of [these themes]."
— Ellsworth on the film's primary themes.[7]

An early draft for the remake had moved the setting vĩ đại northern California, and altered the third act vĩ đại include elements of the supernatural. When that script was rejected, Carl Ellsworth was brought in vĩ đại touch up the script written by Adam Alleca. Ellsworth had previously worked with Craven on Red Eye (2005), but had never seen the original film. After reading the script and watching the 1972 film, the latter he found difficult vĩ đại watch due vĩ đại its extreme nature, Ellsworth decided that the first thing they needed vĩ đại tự was vĩ đại establish someone whose survival the audience would want vĩ đại root for. The writer wanted vĩ đại know how the "typical family" would react vĩ đại such a heinous act being perpetrated on their daughter, and what they were truly capable of.[7] Craven points out that most of the early script problems were based around deciding what elements vĩ đại include. They were never sure how much of the Krug family needed vĩ đại be seen, what elements from the original film should be included, or even if Mari should live or die.[8]

One of the changes that Ellsworth made was keeping Mari alive, as the character is found dead in the original film. The writer believes keeping Mari alive when her parents find her adds vĩ đại the suspense, because there is now a "ticking clock" for the parents vĩ đại get their daughter vĩ đại the hospital.[7] Another change vĩ đại the character was making her a swimmer. Director Iliadis wanted vĩ đại give Mari a "big character trait" that could be used as a coping mechanism for the character, as well as become an important component vĩ đại her escaping Krug. As Iliadis explains, "Well the idea was vĩ đại find something where she channels all her energy and that was a big character trait because her brother is dead. It's lượt thích she's carrying him on her back. She needs vĩ đại perform for two people now. She has vĩ đại compensate for him so sánh all her energy is in the water. The only area where she feels slightly không tính tiền is when she's in the water swimming lượt thích crazy, so sánh it's interesting having that as a character trait, and then having that as a key element for her trying vĩ đại escape."[6]

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Ellsworth changed the fate of another character, Krug's son Justin attempting vĩ đại give the audience a better "sense of hope".[7] Craven points out that early on he suggested that Krug have a son who commits suicide, but found it more interesting vĩ đại see "this strange Romeo and Juliet thing happening" between Justin and Mari. He also stated that he likes the fact that John Collingwood is a doctor who actually gets vĩ đại use his skills in the film, unlike in the original where the character is merely identified as being a doctor. Craven comments, "[it is] an extraordinary moment" when John is forced vĩ đại improvise a way vĩ đại restore a collapsed lung; "It made it real."[8] Ellsworth wanted vĩ đại create a level of interest in the characters that would "engage [the audience]", as opposed vĩ đại simply leaving the family in "even worse shape [by] the kết thúc of the movie". He asserts that the film does not have a happy ending, but that there is some hope left at the kết thúc.[7] Initially, Iliadis feared that they were "wussing out" with the ending, but eventually decided that what the audience would see is a family that has physically survived this encounter, but are "dead in many ways". Iliadis expressed that he did not want vĩ đại go the way of "torture porn", which is what he sees most horror films moving toward, but instead show a sense of "urgency" with the parents' actions.[8]


When casting for the film, Iliadis wanted vĩ đại find actors who would not portray these characters in a stereotypical way. As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality. Craven states, "You need an actor who can bring a complete sense of commitment vĩ đại that character without making it silly and not be afraid vĩ đại go in there vĩ đại the point where someone might say, 'Oh, you got bad in you?' You have vĩ đại be brave enough and mature enough vĩ đại know we've all got it, and you're not afraid of putting it out there and if you've got a problem with seeing that, tough."[8] For instance, Iliadis wanted vĩ đại avoid casting a superficially sexy actress in the role of Mari, because he did not want the rape sequence vĩ đại appear enjoyable vĩ đại the viewers in any possible way. Iliadis notes that when Sara Paxton came in her audition was "good", but it was this sense of intelligence and intensity that Paxton brought with her. The actress also had the "innocent face" the director was looking for, someone who had this "wholesomely American look" that would not allow anyone vĩ đại enjoy watching her go through these intense events.[6]

"We were casting for Krug and everyone was coming and doing the squinty eyes and (he growls) and Garret brought this intensity, this evil which is not premeditated, and when that evil emerges it's even stronger because it comes from a real human being who's very angry. It doesn't come from someone who has just decided vĩ đại be bad."
— Iliadis on casting Garret Dillahunt as Krug.[6]

Iliadis auditioned dozens of actors before hiring Garret Dillahunt for the role of Krug, the leader of the family that kidnaps Mari. According vĩ đại Iliadis, the actors coming in kept trying vĩ đại portray Krug as the "typical bad guy", which was not what the director wanted. In Iliadis's opinion, "the most sadistic criminal will smile"; when Dillahunt came in he brought a slyness vĩ đại the character, and created "ambiguity and subtleties" vĩ đại the character that Iliadis liked. Dillahunt attempted vĩ đại humanize Krug by approaching the character more as a man who feels some love for his son, but is bitter about how his life has turned out and is fearful that he is losing his position as the leader. He further clarifies that Krug fails vĩ đại take responsibility for his own actions, instead blaming others, and prefers vĩ đại deliver his own "twisted justice" vĩ đại those he feels have wronged him.[9]

It was Garret Dillahunt's unique auditioning approach—creating "ambiguity and subtleties" that the other actors were lacking—that ultimately won him the role of Krug.

Dillahunt took inspiration from Andrew Cunanan, the man who killed Gianni Versace, when he recalled the brutality in which Cunanan murdered a man just for his siêu xe. Dillahunt recalls how an FBI profiler noted that this type of rage is typically directed toward someone the perpetrator knows, yet Cunanan managed vĩ đại pull some element from his own life and place it on this random person who attempted vĩ đại stand his ground against the would-be carjacker. To Dillahunt, that was how he wanted vĩ đại approach Krug. To him, Mari actually shows that she is not afraid of Krug, which causes him vĩ đại go "crazy". That being said, Dillahunt felt the scene where Krug rapes Mari was one of the hardest things emotionally vĩ đại film.[9] He notes that part of him was happy that Paxton was cast as Mari, because they had worked together in the past, so sánh they knew each other. On the other hand, he felt uncomfortable acting out such a scene with a person he considered vĩ đại be a friend.[10] Paxton echoed his sentiments vĩ đại Craven, who stated the actress expressed vĩ đại him a greater feeling of trust that the person who would have vĩ đại tự these "horrible" things vĩ đại her was someone she knew, and as a result made them at least partially more bearable vĩ đại act.[6]

At the time Riki Lindhome was called in vĩ đại audition for the role of Sadie, December 2007, she had not heard of Craven's original film. On the day of her audition, Lindhome was informed that she had missed her scheduled appointment and that she would need vĩ đại return come January. Lindhome took the time vĩ đại watch the original film and read an article in Vanity Fair about it, giving her some familiarity with the story and her role when she went vĩ đại audition. Lindhome said she found her character "creepy for no apparent reason", because the film does not attempt vĩ đại justify why the antagonists tự what they tự. Lindhome characterized Sadie as being "equally as bad as [the men]", and admitted that early in production it was easier for her vĩ đại detach herself from the violent character she was portraying, but as filming continued and the cast grew closer it became more difficult and "upsetting" vĩ đại perform some of the scenes. According vĩ đại Lindhome, in response vĩ đại seeing how some of the scenes were affecting the women, the producers sent Lindhome, Paxton, and Martha MacIsaac, who was cast as Paige, vĩ đại a spa chăm sóc sức khỏe và làm đẹp for a weekend.[11]

Before filming began, some of the actors had vĩ đại undergo various training exercises in preparation for their roles. Dillahunt, Lindhome, and Aaron Paul, who was cast as Francis, had vĩ đại take part in firearms lessons, while Paxton had vĩ đại get up each morning for swimming lessons in order vĩ đại look lượt thích an experienced swimmer.[12] Iliadis spent several weeks with the actors in rehearsal, and it was his hope that the space vĩ đại rehearse their roles and the time during filming vĩ đại develop their characters individually, would help them vĩ đại trust him as a director more.[8]


Craven chose vĩ đại give Iliadis his freedom while filming the remake, partially because Craven was in the process of working on a new film for himself, My Soul vĩ đại Take (2010), but also because he likes vĩ đại allow the directors the chance vĩ đại make their own film.[6] For the 2009 remake, Iliadis wanted vĩ đại keep a consistency among the scenes of his film, as compared vĩ đại the 1972 original. Iliadis stated that he felt the intercutting of comedic scenes with the rape scene in the 1972 film had a tendency vĩ đại take one out of the moment. Iliadis wanted vĩ đại "cut those diversions out", as a way of "[throwing the audience] into this scene with no place vĩ đại cut away to". For Iliadis, taking this approach helped vĩ đại create more drama for the sự kiện.[8] The producers brought in a medical technician vĩ đại provide insight, based on his job experience witnessing the people's deaths, and lend realism vĩ đại the actors' portrayals. Lindhome stated that the technician would explain how someone would react given a particular sự kiện, lượt thích getting shot or stabbed.[11] Iliadis also felt that his experience working on Hardcore prepared him for this film. As the director points out, Hardcore contained "very difficult scenes", such as a sixteen-year-old girl having an "existential breakdown during an orgy", which taught him how vĩ đại make sure the actors are still being respected, as well as making sure that the scene is focused on the characters instead of simply going for "titillation".[8]

For the ending of the film, Iliadis and the creative team chose vĩ đại include the tuy nhiên "Dirge", by psychedelic rock band Death in Vegas. Iliadis was hoping vĩ đại find something that was both "ironic" and "innocent" at the same time, given the events in the film that would precede its usage. To Iliadis, the choice helped vĩ đại illuminate the fact that nothing will be the same for this family again.[8] Craven commented on the choice vĩ đại have John return vĩ đại finish off Krug at the kết thúc. Craven explains, "I also found it interesting that the Dr., whose oath 'does no harm', intentionally [kills Krug] and that it kinda shows that when seeking revenge you can become something evil yourself if you don't stop once what's been necessary is done. So I also found it intriguing that we're just seeing these wonderful, perfect people but the father comes back and goes out of his way vĩ đại tự this."[13]


The Last House on the Left was released on March 13, 2009, vĩ đại 2,402 theaters.[14] The MPAA ratings board ordered multiple cuts vĩ đại the film vĩ đại achieve a R-rating. The biggest setback by the board involved the rape scene. In the original cut of the film, the scene was at least one minute longer, but the board forced the scene vĩ đại be trimmed if the filmmakers wanted an R-rating. There were other minor aspects trimmed as well, lượt thích an extended stabbing sequence with Paige. What shocked Craven was when the MPAA told them that this was a "special" film that did not "need" the extension on those scenes. Craven believed that the MPAA viewed the film more as an artistic horror film, which he sees as both a blessing and a curse. In Craven's experience, once the MPAA becomes focused on certain elements they dislike in horror films that they otherwise lượt thích, they become determined vĩ đại see it removed before release.[13] The DVD and Blu-ray copies of the film, which were released on August 18, 2009, contain both a rated and unrated cut.[15] The DVD sales have brought in approximately $20 million in revenue.[16]


Box office[edit]

On its opening day, The Last House on the Left grossed $5.6 million,[17] on 2,800 screens in 2,402 theaters,[18] putting it slightly ahead of Watchmen, the previous weekend's top film.[19] Over its opening weekend, The Last House on the Left grossed $14.1 million.[17] By comparison, the 1972 original earned an estimated $3.1 million (unadjusted) during its entire box office run rẩy,[20] equal vĩ đại $16.5 million in 2009 dollars.[21] The film went on vĩ đại gross $45.3 million worldwide.[14]

Critical response[edit]

On Rotten Tomatoes, The Last House on the Left holds an approval rating of 43% based on 167 reviews with an average rating of 5.1/10. The site's critics' consensus reads: "Excessive and gory, this remake lacks the intellectual punch of the 1972 original."[22] Metacritic assigned the film a weighted average score of 42 out of 100 based on 27 critics, indicating "mixed or average reviews".[23] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ vĩ đại F scale,[24] with exit polling showing that 57% of the audience was female, 60% was under 25, and with Hispanics and Caucasians making up 36% and 35%, respectively.[18]

The San Francisco Chronicle's Peter Hartlaub felt the remake departed from the traditional template used by more recent remakes—"include twice as many kills, [find] boring young actors from TV shows, rewrite the script so sánh you lose everything interesting about the original, [and] làm đẹp an excuse vĩ đại add cell phones"—which ultimately made it far more effective. Hartlaub cited the script, which he felt devoted as much time vĩ đại character development as "carnage", and the "good acting", particularly Tony Goldwyn, as reasons why this remake succeeds.[25] Kyle Smith, of the New York Post, agreed that the film succeeded where other remakes had failed. For Smith, it was the replacement of the "quick-cutting, loud noises and camera tricks" clichés with "long takes, genuinely disturbing violence and stretches with no dialogue vĩ đại pin you vĩ đại the story", which made this film more effective. Smith also commended Dillahunt's acting, as well as Iliadis's "casual, matter-of-fact approach that multiplies the horror vĩ đại an almost unbearable level".[26] In contrast, USA Today's Claudia Puig stated that director Dennis Iliadis failed at trying vĩ đại keep the film from becoming another "torture porn". Puig felt that the killing scenes were too drawn out, noting the technique was down vĩ đại heighten the effect, but actually comes across more as "repugnant and fetishized violence". She also noted that the parents seemed vĩ đại find enjoyment in exacting their revenge, even when their daughter lắc dying in the next room.[27] Joe Neumaier of the New York Daily News was in agreement with Puig when he referred vĩ đại the film as "stomach-churningly anti-human" because of its violence, and questioned why Goldwyn and Potter even signed on vĩ đại the film. Neumaier suggests that the film's violence fails vĩ đại create the sense of "theatricality of the Saw or Hostel films", or even provide audiences with "the unkillable-monster nostalgia of [the] Friday the 13th re-do". Neumaier also states that the 2009 film lacks the reasoning vĩ đại exist that Craven's 1972 original had, which was vĩ đại push the "boundaries of cinema's new permissiveness".[28]

When comparing the 2009 film vĩ đại its 1972 counterpart, Newsday's Rafer Guzman stated that Iliadis's film contains better "production values" than vãn the 1972 original, but overall it keeps the "marrow of the story". Guzman suggests that some of the violence may have ventured too close vĩ đại hysteria, and that this film is not lượt thích The Virgin Spring—which Guzman reminds that Roger Ebert "famously compared the original to"—but overall the film is "horribly, shamefully satisfying".[29] Michael Phillips of the Chicago Tribune, who disliked the 1972 film and went so sánh far as vĩ đại gọi the original "unstable trash", found the remake vĩ đại be a better film. Phillips noted that the 2009 film was well written—apart from a couple of moments that felt lượt thích they belonged in a different movie—well acted, and contains characters that seem lượt thích "real people [with] plausible behavior, amid plausible tension, borne of a terrible situation". He also suggests that, contrary vĩ đại other critic opinion, the 2009 remake does not attempt vĩ đại follow the current trend of Hostel or Saw-like films simply because audiences are gravitating toward them as of late.[30] Mark Olsen, of the Los Angeles Times, believes the 2009 remake is "deeply misguided refraction of the original". Olsen points vĩ đại what he feels is the addition of unnecessary back story for the family, and Iliadis's choice vĩ đại film the rape scene in a "verdant, scenic forest", which gave the sequence an "art-directed falseness, draining the audience-implicating authenticity and replacing it with the easy distance of knowing entertainment".[31] Olsen also felt that changing the trinket Mari holds in the original film vĩ đại a keepsake from her deceased brother turns the family into "heroic characters" who appear vĩ đại be "defending their entitlement vĩ đại a rustic second home page and vintage motorboat, not their right vĩ đại exist".[32]

Xem thêm: đấu trường kỳ lạ

Dennis Harvey of Variety believed that the film lacked in comparison vĩ đại the 1972 original in almost every aspect. Harvey felt lượt thích the film spent more time trying vĩ đại please current horror conventions than vãn create an effective update vĩ đại Craven's film. Harvey criticized the choice of changing a "credibly ordinary family" into "typical modern movie-fantasy clan". He also noted that Dillahunt's portrayal of Krug is no match for David Hess.[33] Michael Rechtshaffen, from The Hollywood Reporter, felt that the remake followed close vĩ đại the original—something fans of the 1972 film would appreciate—but that the film lacked the timing of the Craven's film. Craven was responding vĩ đại the graphic images being sent back during the Vietnam War and allowed his film "sociological context", while Iliadis's 2009 film comes across as "exploitative". Although Rechtshaffen points out that the parents lack the training and skill of Liam Neeson's character in Taken, the performances from all of the actors are "uniformly sturdy".[34]

Lisa Kennedy of The Denver Post suggested that some viewers may want vĩ đại leave the theater before finishing this movie, as Paige and Mari's fight vĩ đại survive is "so disturbing" and "earnest", the murders and rapes so sánh "verite" that it forced the reviewer vĩ đại "fear for women in the audience who have been victims of rape". Yet, Kennedy believes the film manages vĩ đại create a deeper message by identifying the "truly horrific" nature of what occurs by following the events with "a deep pause". Comparing this remake vĩ đại the multiple Michael Bay slasher remakes, Kennedy states that this film "is not an idea-free flick", and that it "[engages] what the word 'horror' means".[35] Roger Ebert, who gave the film a mildly positive review of 2.5 out of 4 stars, was also appalled by the rape sequence of the film, and noted that the rest of the violence seemed vĩ đại fall within the standard of trying vĩ đại invent new ways vĩ đại kill people simply vĩ đại please horror fans. At the same time, he praised the performances of Goldwyn, Potter, Paxton, and Dillahunt. He noted that the audience actually fears for the parents, and that Dillahunt is convincing as the "evil leader of a pack of degenerates".[36]

See also[edit]

  • List of films featuring home page invasions


  1. ^ a b "The Last House on the Left (2009)". American Film Institute. Retrieved February 27, 2023.
  2. ^ a b c d e "The Last House on the Left (2009) - Financial Information". The Numbers. Retrieved February 27, 2023.
  3. ^ a b "The Last House on the Left (2008) [sic]". British Film Institute. Archived from the original on May 5, 2019. Retrieved February 27, 2023.
  4. ^ Michael Fleming (August 16, 2006). "'Left' right for Rogue". Variety. Retrieved October 17, 2007.
  5. ^ Michael Fleming (September 27, 2006). "Helmer haunts Rogue's house". Variety. Retrieved October 17, 2007.
  6. ^ a b c d e f Sheila Roberts. "Wes Craven Interview, Last House on the Left". Movies Online. Archived from the original on April 13, 2009. Retrieved July 24, 2009.
  7. ^ a b c d e Rotten, Ryan (March 9, 2009). "EXCL: Carl Ellsworth on Last House on the Left". Retrieved March 13, 2009.
  8. ^ a b c d e f g h Rotten, Ryan (March 12, 2009). "Iliadis, Craven: Building a New House". Retrieved July đôi mươi, 2009.
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External links[edit]

  • Official website
  • The Last House on the Left at IMDb
  • The Last House on the Left at AllMovie
  • The Last House on the Left at Box Office Mojo
  • The Last House on the Left at Metacritic Edit this at Wikidata
  • The Last House on the Left at Rotten Tomatoes
  • The Last House on the Left at the TCM Movie Database