L'ultima casa a sinistra

The Last House on the Left is directed by Dennis Iliadis and adapted to screenplay by Adam Alleca and Carl Ellsworth from the story by Wes Craven (co-producer here). A remake of Craven's 1972 film of the same name (itself influenced by Ingmar Bergman's The Virgin Spring), it stars Tony Goldwyn, Monica Potter, Garret Dillahunt, Sara Paxton, Spencer Treat Clark and Martha MacIsaac. Music is by John Murphy and cinematography by Sharone Meir.

During a family vacation, teenagers Mari (Paxton) and Paige (MacIsaac) are viciously set about by a gang led by recent prison escapee Krug (Dillahunt). When bad weather forces Krug's car to career off the road, the gang, unbeknownst to them, seek refuge in the vacation home of Mari's parents. When the parents realise what their new lodgers have done, they begin to enact bloody retribution.

It's pointless going on about remakes of old horror films, they are here to stay and we continue to watch them in the hope that they will strike a chord with us. With The Last House on the Left, remaking it, to me at least, is understandable given the 72 film is not exactly a great classic itself. True enough to say it has that grainy grunginess that was so befitting the decade's horror movies, marking it out as an unsettling experience without really living up to its "terrifying" reputation. In fact if you put both movies together they still wouldn't have enough class in them to give Bergman's movie a run for its money.

So the remake then, all glossy and big budgeted, with name actors in the principal roles, it is by definition routinely packaged for the modern day audience. However, that doesn't take away from the fact that what unfolds on that screen is challenging us, it really does do its job. The pertinent question exists, are you capable of such violence having had violence inflicted on your loved ones previously? What would you do in the same situation that Mari's parents find themselves in?

We have been privy to what was meted out to poor Mari and Paige, and the impact is most distressing. There is good cause to argue that Iliadis and his production team go too far in grabbing our attention in readiness for the "revenge" factor later on. Certainly I myself was uncomfortable watching it, as I was with the I Spit on Your Grave remake, but it's about getting a prescribed response, however close to the knuckle it is.

It's not a film anyone can feel comfortable about recommending, surely? But I know it put me through a gamut of emotions, even making me feel bad about myself the next day. That is quite often the power of cinema, and clearly the banner that Craven and Iliadis held aloft during the publicity tours for The Last House on the Left. Today I give the film an uneasy 7/10, it's uncompromising and unapologetically violent, but also laced with flaws. On another day I may find myself rating it considerably lower

As a fan of the original 1972 version, I wasn't expecting a lot, but at the same time, with Wes being brought in as a producer, I felt it had to live up to some expectations.

What I got was a fun yet torturous movie that had the audience with it the whole time. They were gasping, hollering, sighing, saddened, and later clapping, laughing and woo'ing. It really takes you for a ride from the first moment and only lets up briefly, only to take you back down again.

While the original scores higher for "shock factor," this one still has plenty of gore and story. I'm not going to give anything away because I'm sure most of you know the story by the trailers, but overall this is an intense film that you won't forget anytime soon. If you know what happens, you'll be happy when the second half of the film picks up. If you have no idea, try to enjoy the ride as I'm sure you'll leave satisfied.

A few people in my theater left before it ended, so if you feel sick or faintful, just keep repeating to yourself: it's only a movie, it's only a movie, it's only a movie...

The Hollywood remakes continue unabated with this redo of the notorious Wes Craven shocker from 1972 which involves a couple of teenage girls falling foul of a criminal gang and the violent consequences that ensue. The Wes Craven film remains chilling to this day for its low budget, grainy look and feel which gives it a fuzzy, could-almost-be-a-snuff-movie type vibe. This remake is, inevitably, bigger and slicker, with more explosive action and high-end camera-work. It may not be as downright disturbing as Craven's movie but as remakes go it's one of the better ones out there.

The imposing Garret Dillahunt stars as Krug, the leader of a criminal family, for whom kidnapping, rape, extortion and murder are the order of the day. The scenes in which he captures the two girls and then subjects them to a horrendous ordeal within the woods is still a powerfully shocking moment, although thankfully it doesn't go into as much unpleasant detail as in the Craven movie. The scene then shifts to the titular location, which for me is where the film really gets going: it's all about the suspense inherent in waiting for the parents to find out what happened and then watching what they do about it, the classic home invasion premise.

What ensues both delights and disappoints. There's a violent and lengthy scene in which a character is attacked which really pays off, but aside from that what follows is a little disappointing – not least the tacked-on ending involving a microwave, which takes the mildly realistic events of the previous movie and trashes them with a frankly outrageous and unbelievable gore scene.

The cast is pretty good, which seems to be the norm for these modern-day remakes (aside from the teen slashers, in which the cast remain drivelling). Dillahunt excels in the role which made David Hess's name; he's no Hess, but he gets close at times. Tony Goldwyn, previously a villain in the likes of THE LAST SAMURAI, is particularly good as the father caught up in events spiralling out of control, although Monica Potter as the mother has little to work with. Yes, there are a couple of unwise twists where the plot deviates from the original – and horror fans will be disappointed there's no chainsaw this time around – but for the most part this is a workable suspense thriller with enough viciousness to appease moviegoers looking for their latest violent fix.

A gang kills two detectives and breaks out criminal Krug (Garret Dillahunt). Competitive swimmer Mari Collingwood (Sara Paxton) and her parents (Monica Potter, Tony Goldwyn) go to their vacation home. Mari reconnects with local friend Paige (Martha MacIsaac). The girls go to a motel room with Justin (Spencer Treat Clark) with the promise of some marijuana. They have a fun time until Justin's dad Krug, uncle Francis (Aaron Paul) and Sadie (Riki Lindhome) arrive. The girls are kidnapped and then Mari causes the car to crash.

As far as violent horrors go, this works better than most. The first half is the most compelling. The rape scene is pretty brutal. The violence is scary without the enjoyable fun. It's a horrific scene. The scariest part is actually the motel scene where the violence is just threatened. The second half is less scary by comparison. It's more traditional with the Collingwood family battling the criminal family. The whole movie works pretty well with some memorable brutality.

The Last House on the Left was just another in the endless glut of horror remakes that was triggered by the surprise success of Platinum Dunes' Texas Chainsaw Massacre reboot in 2003, but what makes this film stand out is its ability to truly reimagine the source material, highlighting different moments for emphasis, and turning it into a very different experience than the original film.

For all it's intensity and guts, the original film isn't a well made film by any stretch of the imagination. Camera work is mostly ugly, some acting isn't great, and the comic elements don't work and drag things down. This newer Last House is easily a better made and acted film even if some of the gorier aspects have been toned down.

If it has any faults, it's the awful ending which feels tacked on and completely unnecessary.