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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.

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

I'll keep this short and sweet. This was gruesome and twistedly faithful to the original in spirit and effect. I totally expected to be the one tortured when watching, well I should have left my preconceived notions at the door. The acting was sharp, the plot devices made just enough sense that it never broke my disbelief and I admittedly had to briefly look away from some scenes.

The setup was stellar and the ending did not disappoint. I give it a 7 but if it was possible I would have given it a 7.5.

Good for the genre and great by comparison of other remakes.

I would definitely suggest it to anyone that enjoys the genre.

If you've ever read any of my other reviews you know how I feel personally about re-makes. Most horror fans feel the same way I do (yet we still watch these things!) so needless to say I went into this movie expecting to be disappointed. I was actually pleasantly surprised by how well this one was. Yes there are the usual cases of character name changes, scene and dialog changes and complete story line changes for no apparent reason but the basic premise that made the original film so creepy was somehow still retained. 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. 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). Nowadays there really is no way to re-create the grainy, almost documentary like filming style of the original which is one of the main elements that added to the general feel of the film, but these filmmakers did an exceptional job of making the viewer curl in disgust at the actions of the villains and cheer and applaud the violence that befalls them. If you enjoyed the original you will most likely enjoy this one as well...just make sure you watch it and avoid the aforementioned "Chaos".

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.