You’ll be surprised to know that this version of Wes Craven’s cult classic is, in many ways, better than the original. How? Well, the way the movie is made is done with slickness and style, the acting is pitch-perfect, the violence is toned down and set aside for some pure suspense, and the Collingwood family’s revenge is one that will make you stand up and cheer.
First of all, the movie is very well-made. There are beautiful visuals here, especially when it comes to scenes in the woods. It is bright in different places, but then the sky turns to gray, making the sequences of terror have an even bigger sense of dread. Director Dennis Illiadis chooses the perfect places to shoot the movie. There is no production design here. Every setting you see on film is real.
Another thumbs-up to Illiadis for toning down the violence. What made the original film so well-known was how Craven and his partner, Sean Cunningham(director of Friday the 13th), didn’t hold back on gore. Once again, Last House’s violence is hardcore, but what you see in this remake is nothing compared to what the original did. After watching the 1972 Last House, I was disgusted. I needed a shower after I watched it. And it didn’t even have an ounce of suspense. What Illiadis does is pack on as much suspense as he does carnage. And frankly, that’s how I prefer the film. The Last House On The Left unfolds with an unbearable tension, a tension that will have you biting your nails and covering your eyes for safety. Bloody-Disgusting.com says “Illiadis films the movie with enough suspense that would make Hitchcock proud.”
None of the scenes in the movie are as painful and disturbing as Mari’s rape scene. I wasn’t freaked out by it because I was wondering what my mom was thinking during that scene, but it was how real it felt. It was so real that I could almost feel it. Even though you don’t see much, what Illiadis does is zoom in on Mari’s face while she begs for mercy. Mari was an easygoing, virginal teenager before, and this is the moment when Krug gets her at her most vulnerable point, horribly deflowering her and subjecting us to Mari’s pain.
When John and Emma discover that their daughter has been raped, the audience roots for them. I remember myself thinking “Come on. Give them a taste of real pain. Get revenge. Kill them already!”
You’d think that Last House would be a very graphic horror film. But I’ll be honest: it’s not as much a horror movie as it is a very brutal crime thriller. But the ending of the film gives the viewer a chance to breath. It is a great moment that takes a thriller and brings a touch of horror to it. I won’t give it away, but you will never think the same about microwaves again.
What affected me the most about The Last House On The Left was that it felt like it could happen to you. It deals with a parent’s worst fears for their child. What if your kid didn’t pick up the phone when you tried to call them? Or what if they borrowed the car for the day and never came back? It’s a very intellectual subject, and for fans of the genre or even the parents whose kids are begging them to see this, the movie is going to hit you hard.
Sure, the violence was believable, but the acting was just as much. Illiadis has chosen a cast that is more than competent, and their performances feel real. To start off, Sara Paxton is great as Mari. Here is a 21-year-old woman that has done films that are very family-friendly, such as Sydney White and Aquamarine . This movie was a gigantic step up in her career. “I’m always looking for something that will challenge me as an actress,” says Paxton. “When I came upon this script, it was very well-written and it was definitely a challenge making the film. And it’s Wes Craven. How can you refuse, since he’s such an icon in this genre? I liked Mari because she wasn‘t your average dumb blonde that you always see in horror movies. She was strong, and she fought back. That was why I enjoyed playing this character.” What I really wanted to know was how hard it was for Paxton to shoot her assault scene. “Well, I was definitely concerned at the beginning,” she explains. “And when the day came to shoot that scene, I was feeling terrible. I was sick, and covered in dirt, and more nervous than ever. Luckily, Garrett is such a great guy and we all bonded. I knew that I could trust him. So, in the end, it all worked out fine.”
I was kind of hoping that Paige would be a bigger character, but that’s only a minor flaw. Martha MacIsaac, who became famous through the role of Becca in Superbad, gives a job well-done as Paige, Mari’s pot-smoking pal. I loved MacIsaac in Superbad, and when it came time to watch her death scene, I was absolutely shaken.
Then, there are the psychopaths. These characters are played creepily, especially with the performance of Garrett Dillahunt as Krug. He is not like Michael or Jason, but he feels like an actual human being. He has no motive. He just has a craving for murder. And I absolutely hated him during the torture sequences. The other performances are very good, with Aaron Paul as Francis(who gets a less-violent and more crowd-pleasing death that is not as disgusting as the original character’s demise. But believe me, his death is a major ouch-moment.), Riki Lindhome as Sadie, who gives plenty of unneeded but inevitable nudity, and Spencer Treat Clark as Justin.
And last but not least, Tony Goldwyn(Tarzan and Ghost) and Monica Potter(Saw, Patch Adams and Along Came A Spider) are terrific as John and Emma. In the original film, John and Emma(Estelle in the 1972 version) go through a situation that also was projected in Craven’s later film, 1977’s The Hills Have Eyes, in which after a family gets revenge on bloodthirsty mutants, they become just as crazy as the villains. I think I enjoy the new family’s revenge a lot more than the original family’s. It’s cleaner and smarter. The audience will rave over Goldwyn and Potter when these wackos get their comeuppance.
Oh, just one more thing that makes Last House ‘09 better than the original: the music is better by a mile. The 1972 score by David Hess(who played Krug in the film) did not fit at all with the movie. Bluegrass music does not match with terror. The composer for this version is named John Murphy, who was chosen wisely after doing such films as 28 Days Later and Sunshine. I actually find Murphy’s score to induce chills up the spine, which I haven’t felt since Carpenter’s score for Halloween. The music is subtle and quiet. With such favorites of mine as “The Boathouse” and “Opening Titles,” John Murphy creates music that brings even more disturbance and dread to the film.
Fangoria Magazine has said that "the new Last House On The Left shows that you can tone down the blood and guts and still get under the skin." This remake surpasses the original, and in the end, it’s what a crime thriller/horror film nowadays should be. “I think people should go see this,“ says Martha MacIsaac, “because it is as disturbing and terrifying as a scary movie is supposed to be. People are really going to like it.” If you want a great, not good, rape-revenge flick, than you have to check out this film. “It will be as big a masterpiece as the original was,“ says Wes Craven proudly. “By far, better.” The Last House On The Left is a remake that will stand the test of time. You remember the tagline, right? Say it with me: To avoid fainting, keep repeating: It’s only a movie….it’s only a movie….it’s only a movie.
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