The Last House on Dead End Street

A lot of people hate this movie but while I didn't think it was a great film I did think it was unique for it's time and actually quite eerie. This is mostly due to the dark lighting and extremely creepy sound effects. In ways it reminded me of Texas Chainsaw Massacre. Be forewarned though: This movie is EXTREMELY violent, gory and quite disturbing in a couple of scenes. Of course the subject matter about a guy who gets out of prison and starts making "snuff" films with his buddies is offensive in and of itself, other movies have used this theme since then. Most notably 8MM. Last House on Dead End Street is pretty scary but definitely not for the squeamish.

Every fan of horror cinema enjoys searching the back recesses of their local video store looking for that those obscure little gems that they can call their own. "Last House on Dead End Street" is one of my favorite flicks, a movie so obscure, I've only been able to find it at one video store. (And I bought their copy when they went out of business, so THERE!)

This bargain-basement production has a small-time director of homemade porno films discovering that his distributor no longer wants to buy his movies, claiming that they are boring. Desperate to find something new, he discovers a brutal series of "snuff" films made by an ex-convict and his demented friends. Realizing that actual death on tape could be the next big thing, but unwilling to make a film himself, he steals some the convict's movies and takes the credit for himself. When the true filmmakers discover what happened, they kidnap both the thieving director, the distributor, and their respective wives for an evening of torture and humilation back at their wharehouse hideout, all of it to be captured on tape for another "snuff" film.

Sure this is disgusting with all manner of nasty acts committed by sleazy characters. But what makes this memorable in my book is its suprising sense of humor. This film about snuff directors is actually designed to look like a snuff film itself, with credits that consist entirely of pseudonyms, grainy handheld camera work, and even a movie box that is tailored to look homemade. It's that creepy attitude that, along with the look of the film, is something that just can't be duplicated. Happy hunting!

I just got a copy of this movie a few days ago and I watched it right away. I found this movie much more disturbing in terms of atmosphere and reality feel than in terms of violence. Sure, this movie had violence, it had too because of the plot. But thats not what makes it disturbing. What makes it disturbing is the fact that the atmosphere is so true to life, bringing out that "this could actually happen" theme that so few movies try to achieve, but end up blowing.

In other words, I liked this movie.

Oh yeah, the director of this movie is not Victor Janos. That was a fake name. The whole cast used fake names. The real director is a guy named Roger Watkins.

It is doubtful that any movie could live up to the hype surrounding this movie, but in spite of the reputation that precedes it, it still manages to jar the viewer with it's no-holds-barred approach and the atmosphere of vindictiveness that pervades it.

Director Roger Watkins, a film student at the time, set out to make this movie as "Cuckoo Clocks Of Hell" in 1972, after which the film was all but lost until it was edited and released under it's present title in 1977. Apparently Watkins' original cut of the film was around three hours long, so thank your lucky stars it's this version that is available to viewers today. Even at 77 minutes, it's a little long as the story is undeniably thin and the acting amateurish, although Watkins own portrayal of Terry Hawkins is suitably unhinged.

This film has become legendary due to it's uncertain history and allegations that it was a genuine 'snuff' movie. All of the credits used on this film were pseudonyms; most of the technical duties on this film were handled by Watkins under a variety of different names. It was only in 2001 that Watkins came forward and admitted to making the movie. As for the 'snuff' claims, clearly they were made by people who were unfamiliar with the actual content of the film, as no snuff film in history would come with a background story about a guy getting out of prison, rounding up a cast and crew and finding financial backers to pay for the production of his movie. None of that would be necessary for a snuff film. The conceit of the movie - that the easiest way to make the footage look genuine is to kill people for real - plays like an extremely sick joke.

This has the look of an arty student film, and although the film stock used was fairly poor and some scenes are badly lit, this only enhances the menacing atmosphere of this insidious movie. With a limited budget, Watkins saves the gore for the second half of the film, but when it comes it doesn't disappoint, and a few of these scenes have become legendary. Ultimately though, it's the mean-spirited vibe that stays with you.

So strap yourself in and prepare for one mean mother of a movie that nearly lives up to the hype, and while you're there, try to imagine how someone in his right mind could pad this out to three hours! Any way you look at it, if you are at all interested in gore films, this one is a must-see.

When The Last House on Dead End Street was released on DVD it certainly spelled the end for this film and its legend. Once upon a time Last House was mentioned off handed, it was a film of urban legend made by an unknown director with an unknown cast. Of course any amount of research, made even easier with the rise of the internet, reveals the truth behind this film. Originally the film seemed even more brutal and bleak for its mysterious origins if nothing else. With the release of the DVD all mysteries are solved and the film becomes grounded as an amateur production with a history of cult status. No longer is the film relegated to video pirates selling dark, grainy, and mostly unwatchable copies now it is released in a slick package with all the answers. With all the reputation dispelled the film can be evaluated on its own merit now for most people. My eyes are still glossed by the esoteric appearance of this film and as such I probably give the film more credit than it may warrant. Original in its time and, as mentioned, dribbling in mystery of production the film has its peaks and valleys. The disturbing scenes I had heard about in this film were actually a little flat. Anyone a little older seeing this film now will probably be too jaded or numb due to overexposure to understand what it was about these scenes that was so awe inspiring or offensive. Some of the scenes are shot with a slick zest that shows Roger Michael Watkins knew what he was doing. At points the movie moderately drags as if trying to find its feet and also meanders a bit, but really the plot is straightforward about a man jaded by society directing snuff films and little else. It's really about how much mileage Watkins gets out of this simple set up. There's no protagonist, no one in the film to empathize with, no heroes, and no justice given to the characters unless you count the tacked on titles at the end of the film. Last House on Dead End Street could be retitled A Week in the Life of a Snuff Director. Despite postproduction dubbing, which you have to ignore because focusing on it will tend to annoy, the film rises above many modern genre films. The fact that there is not a single likeable character in the film will keep this movie forever relegated to its cult status. Still indie filmmakers would be advised to check this film out, as it is a true demonstration of what sort of excellence can be reached on virtually no budget. On the same note, any movie claiming a lack of budget as a crutch for a horrible movie would do well to watch this and realize talent, true talent, can overcome budgetary obstacles. What the film lacks in sound quality and easily consumable plot it makes up for in impressive visuals. Some scenes are indeed creepy and disturbing and it is the handling of the camera angles and scene set up. Given the subject matter of the film, most mainstream cinema viewers will ignore any of the film's strengths and focus on the film's shortcomings completely ignoring this as a cinematic representation of what can be done on a zero budget.

Probably the biggest shame is that it appears Roger Michael Watkins became what the character he played despised, a porn director regurgitating the same cinema blandness over and over. I've never seen one of his porn films so they may be different but it's still porn and can't possibly be to groundbreaking seeing how all plot is just to get two or more individuals into compromising positions. It seems dishonor to himself that he went or was forced down this road. Hopefully we'll see a real project from Watkins in the near future. Last House on Dead End Street is an excellent indie project for those with a taste for alternative grue filled cinema. It's at the very least an exercise in guerilla filmmaking that current directors would be advised to see. All the money in the world cannot cover hack work. On the same note, money is only an obstacle to be overcome for a director with talent.