After kidnapping and brutally assaulting two young women, a gang led by a prison escapee unknowingly finds refuge at a vacation home belonging the parents of one of the victims -- a mother and father who devise an increasingly gruesome series of revenge tactics.
A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free. He targets not only the killer but also the district attorney and others involved in the deal.
Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
Stephen Campbell Moore
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
While being transported by two detectives in a car, the dangerous criminal Krug is rescued by his brother Francis and his girlfriend Sadie, and they brutally kill the detectives. Meanwhile Emma, her husband Dr. John and their seventeen year-old daughter Mari Collingwood head on vacation to their house nearby the lake. Mari borrows the family car to meet her friend Paige that is working in a store in the town. They befriend the teenager Justin in the store and he offers some marijuana to the pothead Paige in the motel where he is lodged. While they are smoking grass in Justin's room, Krug, who is Justin's father, Francis and Sadie arrive and abducts the girls. Krug drives Mari's car and she provokes a crash on a tree. Krug stabs Paige and rapes Mari; however Mari manages to escape, swimming in the lake, but Krug shoots her in the back. They walk through the isolated road in the woods and they reach Collingwood's house telling that they have just had a car accident. Emma and John ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Actors Tony Goldwyn and Monica Potter have both starred as the main antagonists in movies based on James Patterson's Alex Cross-based crime novels (Kiss The Girls and Along Came A Spider, respectively). See more »
Francis gets stitches from the doctor for the gash in his nose. There's a shot of him with the blue stitch strings poking out of the wound. But, as soon as the scene is done, the stitch strings are gone for the rest of the movie. See more »
[telling joke to Giles]
So the next week, he's even hornier. And this time, he's got twenty bucks instead of ten. He goes back to the whorehouse, he slaps down the twenty, and tells the madam he needs to get off, but he ain't going to screw no goddamn chicken this time. She says it still ain't much, but she can help. She tells him to go to the room at the top of the stairs. This time there's just a bunch of guys jerking off, but one of the jerk off guys assures him "oh hey, it's ...
[...] See more »
Written by Graham Stuart Cassie, David Harper, Simon D. Harper, Tim Holmes, Richard Fearless (as Richard Maguire), Daniel Whitlock, John Yorke
Performed by Death In Vegas
Courtesy of Sony BMG Music Entertainment (UK) Limited
By Arrangement with Sony BMG Music Entertainment See more »
The biggest problem with horror movies today, specifically major Hollywood productions, is that even more than romantic comedies and the like, it is treated by studios and directors as an entry level position. These aren't, after all, the big dramas or 'prestige' movies. The result is an endless barrage of derivative, uninteresting tripe, many of them remakes produced by the like of Michael Bay and directed by those attempting to get started in the industry. Why this is even more of a problem is because horror films and comedy films depend on one essential thing: timing. Those which fall in the category of 'suspense thrillers', those which don't really seek to scare as much as your average slasher, films like "The Last House on the Left", depend on atmosphere. They depend on the building of suspense and tension and dread, even when the outcome is insanely predictable. These films require a director who has talent with timing, with creating atmosphere, with building suspense, and most of the time, especially recently (sure, there have always been awful horror films, but there was a time when studios financed some respectable films at least), the directors who take on such projects seem either incapable or uninterested in doing all they can to make the film work.
"The Last House on the Left" is a 're-imagining' of Wes Craven's accidental classic from 1972. That film displays Craven's potential, but while certain sequences are compelling it is cheap, clumsy, has a bizarrely chirpy bluegrass score, some awful acting (and some good acting), and the movie's biggest flaw: a Benny Hill-like slapstick subplot. Still, the movie worked. It worked precisely because Craven managed to create that atmosphere. That feel. The biggest fear I had going into this 're-imagining' is that the director Dennis Iliadis would turn out to be another Marcus Nispel, coming off his one previous film from 2004, "Hardcore", a film about prostitutes I had never heard about.
I needn't have worried. The film is far from perfect, but Iliadis' direction is one of the film's strongest points. Along with the excellent photography the film creates a dark, foreboding, grimy atmosphere of horror, and wisely cuts out the original film's slapstick, and also fixes the score: replacing it with gorgeous, haunting compositions which occasionally give way to guitars, but thankfully not too often. Iliadis uses hand-held camera as well as anyone, not over-doing it at all, but filming everything with a stark sort of clarity, and he finds a surprisingly effective rhythm for the film which keeps it from ever being mundane. The director is one to watch out for in the horror and thriller genres. Perhaps his most impressive achievement in the film is the incredibly tasteful and brutally disturbing rape scene. The film, like the original, avoids the pornographic nature of many rape-revenge thrillers, such as "I Spit on Your Grave" or for a more recent example the 'unofficial' remake of "The Last House on the Left" from 2005: "Chaos", which was so gleefully vicious it became sickening, not effectively disturbing.
Michael Phillips said it best: "The way director Iliadis shapes the key misery-inducing sequence, there's no hype or slickness or attempt to make the rape palatable or visually "dynamic." For that you have to go see Watchmen." The performances help. The only weak one is Riki Lindhome as Sadie, the murderous Krug's girlfriend. She takes her top off more than once for the movie's unneeded but inevitable nudity, but does little else. Garret Dillahunt is great as Krug and the rest of the cast good too, especially Monica Potter as Emma, the raped Mary's mother.
I won't spoil the changes to the story for you but it does a lot to separate itself from the original. It's not a straight remake and the changes work. The film's ultimate triumph is its intimacy. Iliadis succeeds in putting you in Mary's place and in her parents' place. Not one who succumbs much to vengeful thinking, I was convinced by the film that I'd have done the same things were I in the place of Mary's father, John, played by Tony Goldwyn.
The film's major flaw is the very last scene, a nonsensical moment belonging more in a Stuart Gordon film than this one. Up to that point, in spite of some mediocre sequences, the film is a triumph of atmosphere and style, and is genuinely well-written. If you're looking for fun or an intellectually stimulating film look elsewhere. For a shockingly, shockingly good rape-revenge thriller look no further. This movie works. It doesn't only stand head and shoulders above every other recent horror remake (and certainly the ones out so far in 2009), but it is in a whole other league when compared to most of the genre films Hollywood forces down our throats.
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