Those which fall in the category of 'suspense thrillers', those which don't really seek to scare as much as your average slasher, films like "The Last House on the Left", depend on atmosphere. These films require a director who has talent with timing, with creating atmosphere, with building suspense, and most of the time, especially recently sure, there have always been awful horror films, but there was a time when studios financed some respectable films at least , the directors who take on such projects seem either incapable or uninterested in doing all they can to make the film work. Perhaps his most impressive achievement in the film is the incredibly tasteful and brutally disturbing rape scene. If you're looking for fun or an intellectually stimulating film look elsewhere. Not one who succumbs much to vengeful thinking, I was convinced by the film that I'd have done the same things were I in the place of Mary's father, John, played by Tony Goldwyn. I was actually pleasantly surprised by how well this one was. Why this is even more of a problem is because horror films and comedy films depend on one essential thing: For a shockingly, shockingly good rape-revenge thriller look no further.
Not one who succumbs much to vengeful thinking, I was convinced by the film that I'd have done the same things were I in the place of Mary's father, John, played by Tony Goldwyn. It worked precisely because Craven managed to create that atmosphere. The major story line change in this one has been discussed in previous reviews and revolves around main character Mari I won't reveal any major changes for the benefit of those who haven't seen it yet and yes I was EXTREMELY disappointed with these changes but as I said I went into the film expecting to be let down so this helped to soften the blow. I needn't have worried. Up to that point, in spite of some mediocre sequences, the film is a triumph of atmosphere and style, and is genuinely well-written. Sign in to vote. Michael Phillips said it best: Most horror fans feel the same way I do yet we still watch these things! Iliadis uses hand-held camera as well as anyone, not over-doing it at all, but filming everything with a stark sort of clarity, and he finds a surprisingly effective rhythm for the film which keeps it from ever being mundane. The only weak one is Riki Lindhome as Sadie, the murderous Krug's girlfriend. The film's major flaw is the very last scene, a nonsensical moment belonging more in a Stuart Gordon film than this one. She takes her top off more than once for the movie's unneeded but inevitable nudity, but does little else. If you're looking for fun or an intellectually stimulating film look elsewhere. I won't spoil the changes to the story for you but it does a lot to separate itself from the original. They depend on the building of suspense and tension and dread, even when the outcome is insanely predictable. Why this is even more of a problem is because horror films and comedy films depend on one essential thing: This version of "Last House on the Left" has a considerable amount of added gore sequences as well but they are not overly done or thrown in for no apparent reason other than shock value as was the case in the unofficial 'Last House on the Left' re-make 'Chaos' directed by David DeFalco. These aren't, after all, the big dramas or 'prestige' movies. The director is one to watch out for in the horror and thriller genres. It doesn't only stand head and shoulders above every other recent horror remake and certainly the ones out so far in , but it is in a whole other league when compared to most of the genre films Hollywood forces down our throats. Iliadis succeeds in putting you in Mary's place and in her parents' place. The film's ultimate triumph is its intimacy. Perhaps his most impressive achievement in the film is the incredibly tasteful and brutally disturbing rape scene. The result is an endless barrage of derivative, uninteresting tripe, many of them remakes produced by the like of Michael Bay and directed by those attempting to get started in the industry. The biggest fear I had going into this 're-imagining' is that the director Dennis Iliadis would turn out to be another Marcus Nispel, coming off his one previous film from , "Hardcore", a film about prostitutes I had never heard about.
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The Last House on the Left (5/8) Movie CLIP - Mari Gets Sliced (1972) HD
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