The 2000s saw horror enter a phase of remaking older classics, from franchise starters like Halloween to one-off works like Sorority Row. Greek director Dennis Iliadis’ first U.S. feature was the remake of Wes Craven’s directorial debut, 1972’s The Last House On The Left – which itself was also a remake of Ingmar Bergman’s 1960 film The Virgin Spring. It’s interesting then, that although many of the remakes of this period were derided – especially when compared to the originals – Iliadis’ work managed to eclipse Craven’s messy original.
Escaping the city for a family vacation, the Collingwoods arrive at their remote lake house while trying to move forward with their grief. Athletic teen Mari (Sara Paxton), takes a break from besting her swim time to hang out with her friend, Paige (Martha MacIsaac), and the pair return to the hotel room of Justin (Spencer Treat Clark), a shy teen who offers them weed. This begins an unforgettable and hellish night when the girls end up in the company of a makeshift family of criminals, led by escaped convict Krug (Garret Dillahunt).
Tension is effectively crafted from the moment the criminals return to the hotel room, when it becomes clear there is no chance of them letting the girls go. A nightmare descends upon the pair as they are kidnapped, brutally assaulted and left for dead – all under the orders of Krug who revels in the brutality he inflicts. Fleeing from the violent scene as a storm approaches, the criminals seek refuge at a nearby house not knowing that the owners are Mari’s parents.
It (also) has a better hold of its tone compared to its predecessor, as the persevering brutality culminating in Mari’s horrifying assault is a far cry from the tonal whiplash of Craven’s original.
As the torrential conditions outside keep these opposite families on the same premises, interesting differences are highlighted between the wealthier family that own multiple houses, and the makeshift family that steal money from their victims. While Mari is offered love and understanding from her parents, Justin is not so lucky as he is trapped with a group who get their kicks from committing vile acts, and leading these criminals is Krug, whose attempts at bonding involve using inhumane brutality to show his son how to “be a man.”
While Krug’s lot do not need an excuse to commit their casual savagery, the loving parents find a compelling reason to inflict such viciousness upon discovering what happened to Mari. As they tried continuing with their lives while grieving for their son, seeing the cruelty inflicted upon their daughter lights a vengeful fire under them. Monica Potter and Tony Goldwyn effectively capture the pain evident on these parents faces, while giving in to the barbarity against the wolves who entered their home in sheep’s clothing.
This is a remake which feels of the era, complete with washed-out visuals and physical effects that showcase this film’s ruthless streak tremendously. It also has a better hold of its tone compared to its predecessor, as the persevering brutality culminating in Mari’s horrifying assault is a far cry from the tonal whiplash of Craven’s original. Credit should go to Arrow Video as well, as they’ve put together a phenomenal boutique edition of this film which includes an unrated version of an already distressing work.
The Last House on the Left (2009) is out now on Arrow Video Blu-Ray
