IMDb > The Lost (2006/II)
The Lost
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The Lost (2006/II) More at IMDbPro »

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Overview

User Rating:
6.0/10   2,034 votes »
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Director:
Writers:
Chris Sivertson (written for the screen by)
Jack Ketchum (novel)
Contact:
View company contact information for The Lost on IMDbPro.
Release Date:
18 March 2008 (USA) See more »
Genre:
Tagline:
What's the worst thing you've ever done?
Plot:
Hanging out at some campgrounds one nice summer day, 19-year-old Ray Pye decides to murder two young women... See more » | Add synopsis »
Plot Keywords:
Awards:
2 wins See more »
NewsDesk:
(149 articles)
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User Reviews:
cult classic See more (40 total) »

Cast

  (in credits order)

Marc Senter ... Ray Pye
Shay Astar ... Jennifer Fitch

Alex Frost ... Tim Bess
Megan Henning ... Sally Richmond

Robin Sydney ... Katherine Wallace

Michael Bowen ... Detective Charlie Schilling

Ed Lauter ... Ed Anderson

Dee Wallace ... Barbara Hanlon (as Dee Wallace-Stone)

Erin Brown ... Lisa Steiner

Ruby Larocca ... Elise Hanlon

Tom Ayers ... Eddie

Tony Carreiro ... Tom Wallace

Katie Cassidy ... Dee Dee

Cynthia Cervini ... Etta

Rob Elk ... Lenny Bess

Cornelia Guest ... Katherine's Mom

Alice Hirson ... Mrs. Griffith

Jesse Hlubik ... Officer Shack
Jack Ketchum ... Teddy Panik
Cristiana Ladki ... Tonianne Primiano
Mike McKee ... Mr. Griffith
Shelli Merrill ... Liz Wellman

Tony Moras ... Roger
Belle Morte ... Carla
Linda Pine ... Country Club Waitress

Richard Riehle ... Bill Richmond

Helen Siff ... Jane Pye

Eddie Steeples ... Stevie-Ray

Justin Stone ... Ken Wellman

Luke Y. Thompson ... Handsome Country Club Patron
rest of cast listed alphabetically:
Trevor Graciano ... Ray's Friend (uncredited)

Directed by
Chris Sivertson 
 
Writing credits
Chris Sivertson (written for the screen by)

Jack Ketchum (novel)

Produced by
Laszlo Bene .... line producer
Lucky McKee .... producer
Mike McKee .... producer
Shelli Merrill .... producer
Koko Poovey .... executive producer
Chris Sivertson .... producer
 
Original Music by
Tim Rutili 
 
Cinematography by
Zoran Popovic 
 
Casting by
Dino Ladki 
 
Production Design by
Chris Davis 
 
Set Decoration by
Yvonne von Wallenberg 
 
Costume Design by
Lisa Norcia 
 
Makeup Department
Tereza Nelson .... key hair stylist
Tereza Nelson .... key makeup artist
Valerie Pensky .... makeup artist
Troy Watson .... special makeup effects artist
 
Second Unit Director or Assistant Director
Alisa Fredericks .... first assistant director
Dana Keating .... second assistant director
 
Art Department
Ricky Lewis Jr. .... storyboard artist
Gigi Liebowitz .... property master
Michael O'Luasaigh .... lead man
Justin Stone .... set dresser
Jenna Sylvester .... set dresser
McJoel Hamilton .... art swing (uncredited)
 
Sound Department
David A. Cohen .... dialogue editor
Amber Conroy .... boom operator
Brian Hawlk .... additional sound mixer
Saravoot Kaitkalang .... boom operator
Randy Lawson .... sound mixer
Ryan Maguire .... foley mixer
Donnie Saylor .... sound intern
 
Stunts
Andrea Bill .... assistant underwater stunt coordinator
Gary Lowrance .... stunt coordinator: underwater
Marc Schaffer .... stunt coordinator
 
Camera and Electrical Department
Jose Aguirre .... gaffer
Clay Campbell .... electrician
Christopher Ferguson .... electrician
Chris Heinrich .... assistant camera
Joshua A. Hicks .... key grip
Tamas Mack .... first assistant camera: "a" camera
Marco Munguia .... dolly grip
Zach Passero .... assistant camera
Brian Posslenzny .... electrician
Zack Richard .... director of photography: second unit
Zack Richard .... gaffer
R. Dustin Sanchez .... best boy grip
 
Costume and Wardrobe Department
Danielle A. Domingue .... costume assistant
Sarah Jeanne Mgeni .... key set costumer
 
Editorial Department
Hideyuki Mako .... additional editor
Shelli Merrill .... additional editor
 
Transportation Department
Robert Hampton Frazier IV .... driver production assistant
Colleen Rea .... transportation coordinator
 
Other crew
J.D. Brown .... production assistant
Christopher Gilbertson .... armorer
Morgen Masciana .... production coordinator
Silver Tree .... script supervisor
 
Thanks
Roger Corman .... thanks
Tobe Hooper .... thanks
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
Argentina:119 min (DVD version)
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
Cameo: [Jack Ketchum]The bartender.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...
See more »
Movie Connections:
References Jaws (1975)See more »
Soundtrack:
We Shot the WorldSee more »

FAQ

This FAQ is empty. Add the first question.
25 out of 39 people found the following review useful.
cult classic, 24 August 2006
Author: Chris_Docker from United Kingdom

The Lost starts like a fairy tale. Once upon a time there was a boy called Ray Pye. He put crushed beer cans in his boots to make himself look taller. We meet him with his two friends, Tim and Jennifer, in the campgrounds of a wood. Ray strolls towards a wooden toilet cubicle erected on the hill, the door opens, and a naked girl steps out, quickly apologising as she thought she and her friend were alone. The image is so startling that you know at once this will be no ordinary movie.

Ray has killed rabbits before and decides to kill the girl and her friend, to 'see what it feels like'. Tim and Jennifer, whom he dominates, are coerced into covering up. Four years later, Ray hasn't been caught, in spite of one cop who is determined to make him pay. Ray goes on to much nastier things.

If The Lost teeters on the edge of violence that is so extreme as to revolt most audiences, the question that will hover in the mind of many serious viewers will be whether the end is going to justify the content. Some will not stay that long - in the screening I went to, several people, after a section of intense and escalating violence, walked out at a point where a pregnant woman is stabbed in the back. You have to be able to stomach quite a lot, calmly to consider whether the film, in spite of this, has artistic merit. During the end credits, it says, "If you liked the movie, read the book. If you didn't like the movie, read the book." Ironically, many may not have stayed to this point.

While the film is not a masterpiece, I will argue that it does have considerable artistic merit, even if I feel slightly uncomfortable at disenchanted, gun-toting American teenagers watching it. It delivers both in style and in substance, and if censors want to intervene, that is maybe more a reflection on the people they think might be influenced by it than on its standing as new, invigorating and perfectly valid art-house cinema.

Firstly, the film gets a reaction. Not one of bored disgust - it provokes a gut-feeling, it makes the audience test and question its own tolerance levels. The acting is good all-round, but that of the lead character particularly memorable. His psychotic, drug-fuelled mannerisms stick in the brain like a traumatic encounter. The storyline and editing are stylish. Characters, almost in keeping with the once-upon-a-time introduction, have a two-dimensional quality, like those in fairy stories and we tend to see only traits that are essential to the plot. The characters' development does not go so far as being tongue in cheek or a caricature, but reaches an almost symbolic level where they become ciphers in a particularly challenging onslaught to the senses.

The cinematography and art direction is inventive. There will be switches to high grain film, or unnerving mixes of slow motion, missing frames and superimposed images. The bedrooms of Ray, and also Katherine, a lush that he falls in love with, use vivid reds and blacks to create a surreal effect, and props that include a statue of a black panther. Ray wears black eye make-up, throwing himself into a Bowie-esquire larger-than-life image to give himself an almost god-like appeal to the other, less dominant, teenagers. In contrast, when he finally comes clean about 'the worst thing he ever did', he is sitting dressed in black but on a pure white sofa and background. Katherine, who thinks at first she can 'handle' him, puffs languorously at a cigarette through red lips as Ray talks and she becomes sexually aroused.

Marc Senter's performance (as Ray) is like a turbine that drives the film ever faster forward. The potent soundtrack reflects a cocaine-frenzied adrenalin rush, and even the 'normal' characters offer only some queasy sense of relief. There is 60yr old Ed, for instance, who is in a relationship with teenager Sally; and Detective Charlie Schilling (Michael Bowen), who might seem crazy until you put him next to Ray. Unlike many films that try to capitalise on excessive violence, The Lost wins partly because it is not repetitive. There is nasty violence, quick violence, prolonged violence, mental torture with cruel and violent treatment, 'justified' violence and sick violence. Then there is even offhand violence - "I didn't like you anyway," says Ray as he aims and fires, killing someone with all the casual pride of a sharpshooter at a fairground. (In case you haven't guessed, there is quite a lot of violence!) Supporting scenes draw on popular subculture for realism, such as the rush to flush drugs (grass) down the toilet with limited success when the cops try to bust a party, or the 'friend' who tries to shave an unnoticeable amount of resin from Ray's cannabis delivery. Sensuous, opulent, and recognising few limits, The Lost strains at the sequins to be a cult nasty and succeeds. Even the sex scenes throw in a level of wit not found in the average shocker. "I'm sorry that was a little fast," says Ray after f*cking Katherine the first time. "I've had it faster," she retorts nonchalantly.

While featured songs such as "Drink, Fight, F*ck," might sum up the superficial ethos of the film, it rises well above the trailer-trash slasher that it could easily have become. More concise and elegant than Freeway, more intelligent and visceral than Natural Born Killers, demonstrating a considerable array of talent in its determination to shock that was so noticeably absent in The Great Ecstasy of Robert Carmichael, less high-brow than Irreversible, and more hypnotic than American Psycho. The Lost, however repugnant many people will find it, lives up to its promise of being controversial and worthy of attention by all lovers of the genre.

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Greatest horror film ever? BadMIstaFrosty
What about Tim? Spoilers den1003
Am I wrong could this be the TRUE STORY! FEEDBACK? adragon999
Pick this movie UP!!!! $10 at walmart $25 elsewhere emericansk8r5060
Ray Pye here.. marcsenter
Book and Movie rluna1134
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