Hanging out at some campgrounds one nice summer day, 19-year-old Ray Pye decides to murder two young women. His friends, Jen and Tim, witness the murder and help him cover it up. Four years... See full summary »

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Cast

Cast overview, first billed only:
...
...
Jennifer Fitch
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Tim Bess
Megan Henning ...
Sally Richmond
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Katherine Wallace
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Detective Charlie Schilling
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Ed Anderson
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Barbara Hanlon (as Dee Wallace-Stone)
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Lisa Steiner
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Elise Hanlon
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Eddie
Tony Carreiro ...
Tom Wallace
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...
Etta
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Lenny Bess
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Storyline

Hanging out at some campgrounds one nice summer day, 19-year-old Ray Pye decides to murder two young women. His friends, Jen and Tim, witness the murder and help him cover it up. Four years later, Ray has never been arrested for the crime. Detective Charlie Schilling and his ex-partner, Ed Anderson, know that Ray did it. They just could never prove it. Charlie figures it's about time they did prove it. He's ready to push Ray harder than ever. Meanwhile, Ray has met his match in a new girl in town, Katherine Wallace. Kath is a bad girl; she and Ray are a potentially explosive combination. Throw in the fact that Ed is having a summer fling with Sally Richmond - a girl young enough to be his daughter. And Sally's just gotten a job at the motel that Ray manages. Ray has his eye on her. Charlie and Ed never found the gun that Ray used to murder the women at the campground. That rifle, as well as a handgun, are hidden behind the mirror in Ray's bathroom. Ray can only be pushed so far. The ... Written by Anon

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What's the worst thing you've ever done?


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18 March 2008 (USA)  »

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A véreskezü  »

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Did You Know?

Trivia

The novel this movie was based on took place in the 1960s, whereas the movie takes place in the present day. See more »

Quotes

[first lines]
Ray Pye: Do you have a cigarette?
Ray Pye: [seeing no place she could have one] Yeah, I guess not...
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Connections

References Mister Ed (1958) See more »

Soundtracks

Black California
Written by John Erik Kaada
Performed by John Erik Kaada
Courtesy of John Erik Kaada
www.kaada.no
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User Reviews

 
The Lost: A Return To Realism
12 April 2006 | by (northridge, california) – See all my reviews

Possible Spoilers!!-I attended a preview screening of "The Lost". Having read the book, as well as an account of the true story on which Jack Ketchum's tale is based, I had an idea of what to expect, however, I was unprepared for the integrity shown by the filmmakers in their unflinching look at narcissistic violence. The main character, Ray Pye (chillingly portrayed by Marc Senter) represents the childish nature of current American Pop Culture in which we have become so accustomed to instant gratification that, when we don't actually get what we want when we want it, the infant inside us can explode. And that indeed is the story of Ray Pye. "The Lost", for me, is a return to 1970's style film-making, ala "Taxi Driver" & "Straw Dogs". To call it simply a horror film is to sell it short. The writer/director Chris Sivertson has created a character driven story in which Pye's need for control is driven up a notch with the introduction of each new (independent) female character, women with their own problems, and so not as naive as the two "robots" Pye has controlled since high school. This loss of control, combined with the scrutiny of a dogged police detective, is what ultimately causes Pye's "makeup" to crack, if you will. What results is violent indeed, but shown with a realism much needed in this day and age of CGI "shock and awe" gore. And unlike some of the unnecessary cruelty depicted in movies like "Saw", scenes of torture shown seemingly for no other reason than to "top" the competition, the culmination of Pye's frustration has a very specific conclusion, and without trying to psychoanalyze too deeply, it is indeed symbolic that Pye's rage is infantile in nature. The ending of the film will cause many to gasp, but is in no way gratuitous. At any rate, it is not my intention to "review" the film, per se, although it is made with much technical skill and good knowledge of effective camera angles, dynamic sound effects and some very inventive "kinetic" editing sequences, giving the viewer an "adrenaline" rush, coming from fear, as if we are in the room with Pye and his victims. If you have read any of Ketchum's work (or are familiar with the true story of Charles Schmid) you will know going in that this film is no fairy tale. And yet, it is hoped by this film fanatic that "The Lost", BECAUSE of it's realism, and BECAUSE it depicts violence as it really is, neither glossed over nor unnecessarily gory, will find distribution to as many screens as possible, because believe it or not folks, there is an audience out there who remember the great independent filmmakers of the 1970s and have been wondering for a while when the next batch of Scorceses and Schraders were gonna come along. Coming from a totally original perspective, two of them are here now: Chris Sivertson and Lucky McKee. They have made an excellent character study here. With "The Lost", they have cast a steady gaze on the nature of violence, holding Ray Pye up in the mirror to show us the real reflection of what takes place when a culture of indulgence goes unchecked for too long. In this day and age of ho-hum mass murder and twenty-four hour turnaround "change the subject" news media, to make a film like "The Lost" takes courage and integrity. Sivertson and McKee have these qualities, as well as talent in spades. Let's give them the recognition they deserve!


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