Film

The Last House on the Left


The Last House on the Left (2009)
★★ / ★★★★

I’m not going to say that this was predictable because I saw the 1972 version directed by the legendary Wes Craven. Garret Dillahunt, Riki Lindhome and Aaron Paul star as the three criminals running from the law who eventually come upon Sara Paxton and Martha MaxIsaac. After a series of numbing humiliations and assaults, with the help of Dillahunt’s son (Spencer Treat Clark), Paxton’s parents (Tony Goldwyn and Monica Potter) find out what happened to their daughter and they crave bloody vengeance. I must say that this was more thrilling the 1972 version. It was smart enough to tweak some of the details from the original to keep those who’ve seen the classic guessing. I also liked the fact that Dennis Iliadis, the director, provided some sort of backstory of Paxton’s character so the audiences will be able to sympathize with her more during the more gruesome scenes she has to go through. It has a different feel than most slasher movies coming out in 2009 because the camera tends to linger on the characters’ faces in silence to fully get the picture on how a particular character is feeling after or while going through a trial. However, what I didn’t like about it was that it’s a bit lighter than the original. Some of the implications are gone because this modern version feels like it wants to garner a wider audience. In other words, it’s more commercial in its storytelling, use of music and violence. When the credits started rolling, I asked myself whether I liked the film. The answer would be a “Yes.” But I also asked myself whether this modern interpretation of the original was necessary in the overall scope of horror cinema. The answer would be a resounding “No.” Yes, the classic may be dated but an upgrade is far from necessary. For a horror picture, this “House” has the thrills, blood and suspense but watching that gruesome rape scene again made me sick to my stomach. (But then again maybe that’s the point: To place shame on the audiences due to their willingness to pay ten bucks to see something brutal.)

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