Realização:
Dennis IliadisCâmara:
Sharone MeirMúsica:
John MurphyElenco:
Sara Paxton, Monica Potter, Garret Dillahunt, Tony Goldwyn, Josh Coxx, Spencer Treat Clark, Aaron Paul, Riki Lindhome, Martha MacIsaac, Michael BowenStreaming (2)
Sinopses(1)
After kidnapping and ruthlessly assaulting two teen girls, a sadistic killer and his gang unknowingly find shelter from a storm at the home of one of the victim's parents-- two ordinary people who will go to increasingly gruesome extremes to get revenge. (texto oficial do distribuidor)
Críticas (6)
Avalio no contexto de Sexta-Feira 13, São Valentim Sangrento 3D, e filmes semelhantes, porque nos encontramos no mesmo público-alvo. E nesta companhia, A Última Casa à Esquerda é finalmente um massacre brutal no qual NÃO há adolescentes mais irritantes, seminús, viciados em GPS, que são mutilados por mais um imortal cool-slasher mascarado. Ou sentimos pena das vítimas dos massacres aqui, ou, pelo contrário, QUEREMOS vê-las deitadas no chão cobertas de sangue. As emoções funcionam, a representação é suficiente. Se o filme tivesse ido mais profundo (a questão ética sobre o direito de executar o carrasco do próprio filho) e tivesse um elenco mais interessante de vilões, claro que poderia ter sido algo completamente diferente, com mais valor. Mas é para isso que temos Michael Haneke, não Wes Craven. Além disso, o original também não se aprofundou e foi apenas um exploitation shocker.
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O conceito de Wes Craven foi esticado em duas horas de movimento lento, o que não ajudou o filme. A primeira metade é aborrecida e estúpida, sem exagerar com a violência. A violação no bosque não o tira realmente da letargia. Pelo contrário, a partir do meio, a história evolui para uma pura exploitation sangrenta combinada com um filme de vingança, com uma reviravolta notável e também alguma brincadeira com um triturador de lixo e um micro-ondas. E o fã do horror finalmente obtém a sua satisfação. Ou como uma peça de lixo de uma estrela conseguiu subir à categoria de espetáculo pelo menos medíocre durante poucos minutos.
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The creators did the best they could with the original Last House On The Left, i.e. they did away with the wannabe funny and grotesque subplot with the cops, eliminated a lot of holes in logic and got a bigger budget. The violence escalates to a point where you can still bear it without problem, but it’s also sufficiently strong to generate an emotional response. The result is a superb and brilliantly made soft-exploitation film that it’s better than the original in every way. The fans of The Mummy, Transformers and other similar fairytales can complain all they want about this being a boring and gratuitously brutal film, but that’s what you can expect from them. There hasn’t been better horror in Czech cinemas for a few months and the fact that I was alone in the theatre is very sad in its own way. 85%
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Boring, empty, self-serving. The violence is neither shocking, aesthetic or rousing, just emptily exhibiting and annoyingly stupid. The characters have absolutely no freedom of choice, the creators always push them where they want them to go, and brutality is the only way to get out of an emergency. Another confirmation that Hollywood makes rabbit shit out of pearls. There is a hundred times more real violence, real dilemmas and real suffering in "non-horror" Bergman. This crap belongs in the center of the peloton of mainstream attempts to shock. Who? Maybe only children.
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Thanks to the hopeless atmosphere, the constant nasty feeling of what has already happened is nothing compared to what is yet to happen, and thanks to the absolute unpredictability of the plot, I have no choice and I have to put The Last House on the Left almost on the level of Peckinpah's Straw Dogs. It's probably the first film that deserves such a comparison. I wasn't really comfortable with the spectacle, but it greatly entertained me.
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If all remakes of B-movies were of this quality, horror enthusiasts would have an uninterrupted movie feast. The Last House on the Left may be just another in a long line and is as far from the horror hall of fame as Uwe Boll's "red" rated films, but it’s nevertheless one of the significantly better films the Americans have offered in their frenzied horror output of recent years. Those who can endure the lengthy first act and the introduction to the characters, which is ultimately completely unnecessary, can look forward to a fairly detailed study of human suffering, depravity and the desire for revenge, which will eventually sweep every viewer to the side of the heroes. Atmospherically it's rather tone dull and psychologically it's only marginally biting, but when it was over I was overcome with a very pleasant feeling of well done filmmaking and the way our heroes resolved it all. The one year younger I Spit on Your Grave goes more headlong into it and has a much greater effect, but this one also does the job. 70%
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