The name Wes Craven has been synonymous with horror films for over forty years. Whether it’s his iconic trademark “A Nightmare on Elm Street” franchise, contemporary blockbuster “Scream,” or lesser known commodities like “Shocker,” Craven has carved a knack for the macabre that can challenge even the most stalwart horror moviegoer.
Craven’s directorial debut came courtesy of the 1972 movie “The Last House on the Left,” a film in which he also wrote. Eager to see how the story would turn out with a larger budget, stronger effects, and an updated plot, Craven gave the go-ahead for a remake in 2009, and would oversee the project as producer.
The movie begins as a dangerous killer named Krug (Garret Dillahunt) is violently freed from his police transport by his scoundrel brother Francis (Aaron Paul) and psychotic girlfriend Sadie (Riki Lindhome) in the rural outback. At around the same time, the Collingwood family; Emma (Monica Potter), John (Tony Goldwyn), and daughter Mari (Sara Paxton), depart the city for a family vacation to their wilderness entombed lake house. Through a series of isolated events, the Collingswood family is forced to fight for their lives in an unforgettable confrontation with Krug and his gang.
Not for the squeamish, “The Last House on the Left” features several scenes and images that viewers will take with them long after the credits roll. What it lacks in quantity of gore, it certainly makes up for in quality. And one scene in particular will have everyone uneasy, as it brings back memories from an infamous scene in “Deliverance.” The scares from “The Last House on the Left” come from its realism; the terror isn’t at the hands of ghosts or goblins, but rather from real people and plausible situations.
Monica Potter has been a second fiddle for most of her Hollywood career, known for minor roles in “Con Air” and “Patch Adams,” and more recently as Kristina Braverman in television’s Parenthood. Potter takes charge in her role of Emma Collingwood and leaves the viewers with an understandable character. What would, or could a seemingly helpless and feeble mother do with her back pressed against the wall and the life of her family in peril?
Garret Dillahunt steals the show as the volatile Krug, a remorseless monster that cares little for anyone other than himself, including the life of his own son Justin (Spencer Treat Clark). Thespian Tony Goldwyn is a perfect fit for John, a father who loves his family and financially is a great provider, but physically is challenged by the ensuing environment.
The film misses its mark on several fronts. One area is the lack of explanation surrounding the death of the Collingswood’s son one year before, and why this element is introduced at all. Likewise, the actions of the son Justin will leave you in fits. And several scenes go just a bit too far in terms of graphic gruesome overkill.
Ironically, “The Last House on the Left” is my last horror review of the season. I’ve never watched the original but based on my research, the remake is vastly superior. Check it out, but be warned, it’s not for the faint of heart.
by – Matt Christopher
