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Last House On The Left Stream Navigation menu VideoEp 24 - The Last House On The Left 2009 - PODCAST CNET Networks. Just as surprising on a first viewing is that The Last House on the Left has an intermittent goofy sense of humor and a "groovy" attitude that is firmly mired in the early s. Dillahunt, Lindhome, and Aaron Paul —the latter portrays Francis—had to take part in gun training, while Stadttheater Landsberg Paxton had to get up each Dr Strange Movie4k for swimming lessons so that she looked like an experienced swimmer. Movies Online. In fact, Knight Rider Stream was promoted as such in some areas, and the effect was disturbing enough in its time that the film initially received an X rating and was banned for many years in some locales. We Spinn Off been privy to what was meted out to poor Mari and Paige, and the impact is most distressing. Craven seems to be expressing a strong belief in chance and coincidence and focusing on the dark side of it. It's not very well explained how the convicts end up at a home looking as they do. Dennis Iliadis.
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After kidnapping and brutally assaulting two young women, a gang unknowingly finds refuge at a vacation home belonging to the parents of one of the victims: a mother and father who devise an increasingly gruesome series of revenge tactics.
Director: Dennis Iliadis. Available on Amazon. Added to Watchlist. From metacritic. Top 30 Highest-Grossing Horror Remakes.
Watched Movies. Horror marathon. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Complete credited cast: Garret Dillahunt Krug Michael Bowen Morton Josh Coxx Giles as Josh Cox Riki Lindhome Sadie Aaron Paul Francis Sara Paxton Mari Monica Potter Emma Tony Goldwyn John Martha MacIsaac Paige Spencer Treat Clark Justin Usha Khan Edit Storyline After kidnapping and torturing two innocent teen girls, a group of people seek refuge in the home of the parents of one of the victimized girls.
Taglines: If bad people hurt someone you love, how far would you go to hurt them back? Edit Did You Know? Trivia At first the film was going to be shot in Westport, Connecticut, the location were the original was filmed, but the threat of hazardous weather caused the production to seek another location.
The man hands her one bill, but she does not give him any change. Quotes [ first lines ] Morton : [ telling joke to Giles ] So the next week, he's even hornier.
Bewerte : 0. Möchte ich sehen. Kritik schreiben. Es folgt eine sadistische Orgie, in deren Verlauf Mari brutal vergewaltigt wird, während sie zusehen muss, wie Paige neben ihr röchelnd verblutet.
Mari, eine gute Schwimmerin, kann sich zwar noch in den See flüchten, doch Krug verpasst ihr zum Abschied eine Kugel in den Rücken.
Zunächst erweisen sich John und Emma als höfliche und zuvorkommende Gastgeber - bis sie herausfinden, was mit ihrer innig geliebten Tochter geschehen ist….
Verleiher Universal Pictures Germany. Produktionsjahr Filmtyp Spielfilm. Wissenswertes -. Ein Remake von Das letzte Haus links.
Sprachen Englisch. Produktions-Format -. Farb-Format Farbe. Tonformat -. Seitenverhältnis -. Visa-Nummer -.
Die Ursprünge reichen weit zurück, nämlich bis ins Schweden des Der Legende nach wurde damals eine Bauerntochter von drei Schäfern vergewaltigt und ermordet.
Die Hausherren fanden heraus, dass die Gäste ihre Tochter auf dem Gewissen haben, und rächten sich fürchterlich.
Das Rape-Revenge-M Das könnte dich auch interessieren. Schauspielerinnen und Schauspieler. Garret Dillahunt. Michael Bowen. Joshua Cox.
Riki Lindhome. Horrorfilme haben in erster Linie die Funktion, dem Zuschauer Angst einzujagen und ihn mit Hilfe von spannungsgeladenen Szenen dauerhaft im Kinosessel zu fesseln.Wie werden Bewertungen berechnet? Verifizierter Kauf. Amazon Business Kauf auf Rechnung. Ich gebe dem Film 4 Sterne The Walk Stream German nur weil er geschnitten ist, es fehlen um die ca. Viel Hinterfragen darf man bei der Art Palastorchester nicht. Auch ich finde, dass es sich hier eher Franck Dubosc einen Rachethriller, als um einen Horrorfilm handelt. Jetzt wird e Community Hexen hexen.
According to Lindhome, as a response to seeing how some of the scenes were affecting the women, the producers sent Paxton, Lindhome, and Martha MacIsaac to a spa for a weekend.
Before filming started, some of the actors had to undergo various training exercises for their roles. Dillahunt, Lindhome, and Aaron Paul —the latter portrays Francis—had to take part in gun training, while Sara Paxton had to get up each morning for swimming lessons so that she looked like an experienced swimmer.
It was Iliadis's hope that space to rehearse their roles, and then time during filming to develop their characters individually, would help them to trust Iliadis as the director more.
Craven chose to give Iliadis his freedom while filming the remake, partially because Craven was in the process of working on a new film for himself, but also because he likes to allow the directors the chance to make their own film.
Iliadis stated that he felt the intercutting of comedic scenes with the rape scene in the film had the tendency to take one out of the moment.
Iliadis wanted to "cut those diversions out", as a way of "[throwing the audience] into this scene with no place to cut away to".
For Iliadis, taking this approach helped to create more drama for the event. Lindhome states that the technician would explain how someone would react given a particular event, like getting shot or stabbed.
As the director points out, Hardcore contained "very difficult scenes", like a sixteen-year-old girl having an "existential breakdown during an orgy", and Iliadis sees those scenes as training for him to learn how to make sure the actors are still being respected, as well as making sure that the scene is focused on the characters instead of simply going for "titillation".
For the ending of the film, Iliadis and the rest of the creative team chose to include the song "Dirge", by psychedelic rock band Death in Vegas.
Iliadis was hoping to find something that was both "ironic" and "innocent" at the same time, given the events in the film that would precede its usage.
To the director, the choice helped to illuminate the fact that nothing will be the same for this family again. Craven explains, "I also found it interesting that the Dr.
So I also found it intriguing that we're just seeing these wonderful, perfect people but the father comes back and goes out of his way to do this.
The biggest setback by the board involved the rape scene. In the original cut of the film, the scene was at least one minute longer, but the board forced the scene to be trimmed if the filmmakers wanted an R-rating.
There were other minor aspects trimmed as well, like an extended stabbing sequence with Paige. What shocked Craven was when the MPAA told them that this was a "special" film that did not "need" the extension on those scenes.
Craven believed that the MPAA viewed the film more as an artistic horror film, which he sees as both a blessing and a curse. In Craven's experience, once the MPAA becomes focused on certain elements they dislike in horror films that they otherwise like, they become determined to see it removed before release.
The site's critics' consensus reads: "Excessive and gory, this remake lacks the intellectual punch of the original. The San Francisco Chronicle ' s Peter Hartlaub felt the remake departed from the traditional template used by more recent remakes—"include twice as many kills, [find] boring young actors from TV shows, rewrite the script so you lose everything interesting about the original, [and] make up an excuse to add cell phones"—which ultimately made it far more effective.
Hartlaub cited the script, which he felt devoted as much time to character development as "carnage", and the "good acting", particularly Tony Goldwyn, as reasons why this remake succeeds.
Smith also commended Dillahunt's acting, as well as Iliadis's "casual, matter-of-fact approach that multiplies the horror to an almost unbearable level".
Puig felt that the killing scenes were too drawn out, noting the technique was down to heighten the effect, but actually comes across more as "repugnant and fetishized violence".
She also noted that the parents seemed to find enjoyment in exacting their revenge, even when their daughter lay dying in the next room.
Neumaier suggests that the film's violence fails to create the sense of "theatricality of the Saw or Hostel films", or even provide audiences with "the unkillable-monster nostalgia of [the] Friday the 13th re-do".
Neumaier also states that the film lacks the reasoning to exist that Craven's original had, which was to push the "boundaries of cinema's new permissiveness".
When comparing the film to its counterpart, Newsday ' s Rafer Guzman stated that Iliadis's film contains better "production values" than the original, but overall it keeps the "marrow of the story".
Guzman suggests that some of the violence may have ventured too close to hysteria, and that this film is not like The Virgin Spring —which Guzman reminds that Roger Ebert "famously compared the original to"—but overall the film is "horribly, shamefully satisfying".
Phillips noted that the film was well written—apart from a couple of moments that felt like they belonged in a different movie—well acted, and contains characters that seem like "real people [with] plausible behavior, amid plausible tension, borne of a terrible situation".
He also suggests that, contrary to other critic opinion, the remake does not attempt to follow the current trend of Hostel or Saw -like films simply because audiences are gravitating toward them as of late.
Olsen points to what he feels is the addition of unnecessary back story for the family, and Iliadis's choice to film the rape scene in a "verdant, scenic forest", which gave the sequence an "art-directed falseness, draining the audience-implicating authenticity and replacing it with the easy distance of knowing entertainment".
Dennis Harvey of Variety believed that the film lacked in comparison to the original in almost every aspect.
Harvey felt like the film spent more time trying to please current horror conventions than create an effective update to Craven's film.
Harvey criticized the choice of changing a "credibly ordinary family" into "typical modern movie-fantasy clan".
He also noted that Dillahunt's portrayal of Krug is no match for David Hess. Craven was responding to the graphic images being sent back during the Vietnam War and allowed his film "sociological context", while Iliadis's film comes across as "exploitative".
Although Rechtshaffen points out that the parents lack the training and skill of Liam Neeson 's character in Taken , the performances from all of the actors are "uniformly sturdy".
Lisa Kennedy of The Denver Post suggested that some viewers may want to leave the theater before finishing the movie, as Paige and Mari's fight to survive is "so disturbing" and "earnest", the murders and rapes so " verite " that it forced the reviewer to "fear for women in the audience who have been victims of rape".
Yet, Kennedy believes the film manages to create a deeper message by identifying the "truly horrific" nature of what occurs by following the events with "a deep pause".
Comparing this remake to the multiple Michael Bay slasher remakes, Kennedy states that this film "is not an idea-free flick", and that it "[engages] what the word 'horror' means".
At the same time, he praised the performances of Goldwyn, Potter, Paxton, and Dillahunt. He noted that the audience actually fears for the parents, and that Dillahunt is convincing as the "evil leader of a pack of degenerates".
From Wikipedia, the free encyclopedia. Theatrical release poster. Wes Craven Sean S. Cunningham Marianne Maddalena. Adam Alleca Carl Ellsworth.
Release date. Running time. Box Office Mojo. Retrieved August 17, Retrieved October 17, Movies Online.
Archived from the original on April 13, Retrieved July 24, Retrieved March 13, Retrieved July 20, Archived from the original on March 12, Retrieved March 12, Shock Till You Drop.
February 19, March 10, Raffel March 12, DVD Active. Retrieved July 23, Retrieved September 19, Retrieved March 19, Retrieved March 16, Retrieved March 15, Retrieved March 14, Half Hill.
Rotten Tomatoes. Fandango Media. Retrieved June 22, CNET Networks. Entertainment Weekly. San Francisco Chronicle. Retrieved April 9, New York Post.
USA Today. Retrieved August 7, New York Daily News. Retrieved June 16, Chicago Tribune. Los Angeles Times. The Hollywood Reporter.
Archived from the original on March 15, Denver Post. Chicago Sun-Times. Archived from the original on June 6, Films directed by Dennis Iliadis.
Categories : films English-language films horror films crime thriller films s horror thriller films s serial killer films American crime thriller films American films American film remakes American serial killer films American horror thriller films Crime horror films Films about child abduction Films about violence against women Films scored by John Murphy composer Films shot in South Africa Horror film remakes Rape and revenge films Universal Pictures films Films directed by Dennis Iliadis Films about psychopaths.
She borrows the family's car and heads with her friend to a dangerous neighborhood in the city. Meanwhile, the sadistic and cruel escapees Krug Stillo and Fred 'Weasel' Podowski are hidden in a hideout with their partners Sadie Jeramie Rain and Krug's addicted son Junior Stillo Marc Sheffler after killing two guards and one shepherd in their runaway.
The two girls seek marijuana near the theater and meet Junior that offers some Colombian grass to them. They go to his apartment and are subdued by the criminals that rape Phyllis.
On the next morning, they hide the girls in the trunk of their convertible and head to Canada. However, they have a problem with the car's rod and they stop on the road close to Mari's house.
When Phyllis tries to escape, the gang stabs her to death and shots Mari after While I think that people tend to get a bit hyperbolic when they talk about The Last House on the Left, I do think it's a fairly good film, especially given what the filmmakers were trying to do and considering their lack of experience, the era and the budget.
Also, despite a filmic precursor, it just may be the earliest example of the horror subgenre of "brutal, realist tragedy" that's more a description than a name, but I haven't spent much time trying to come up with a catchy moniker.
However, it has flaws that would be difficult to overlook in a "distanced" rather than "objective" or "unbiased", neither of which I think are possible assessment of the film.
Roughly, it is the story of Mari Collingwood Sandra Cassel. We see Mari at home with her almost-hip parents. Mom and dad are harassing her about her clothing, which is thin enough to show off a bit of flesh, but they're not so un-hip as to make her change.
Meanwhile, we learn from a radio that four convicts--"murderers, dope-pushers and rapists"--have just escaped from prison. Lincoln and Sadie Jeramie Rain.
They're holed up in a New York City apartment. Sadie seems to be group property, and that causes some tension. It is suggested that they look for a couple more women.
Mari and Phyllis end up at the wrong place at the wrong time. They're kidnapped, and mayhem ensues. But there's a twist that arrives when the convict's car breaks down in an ironic location.
Since I find no films scary, I can't vouch for the first term, but the other two would perhaps apply proportionate to how many horror films you regularly watch, and just what kinds of horror films.
If you're not used to the genre in its grittier and gorier posts instantiations, you'd likely find The Last House on the Left shocking.
If you've seen a large number of films such as The Texas Chainsaw Massacre , Cannibal Holocaust , Henry: Portrait of a Serial Killer and so on, don't pay too much attention to the hype.
You're not likely to be very disturbed by anything you see here. That doesn't mean that you'll not enjoy this film. After all, it has been a major influence on the films mentioned above--there is even an important chainsaw scene here.
That's especially remarkable when we consider that it was only Craven and Producer Sean S. Cunningham's second film. They had been approached by a consortium of exhibitors who said that they wanted "something as appalling and exploitable as Night of the Living Dead ".
In fact, it was promoted as such in some areas, and the effect was disturbing enough in its time that the film initially received an X rating and was banned for many years in some locales.
But again, focusing on that amounts to hype now, and shouldn't be taken too seriously, lest it lead to inflated expectations. Just as surprising on a first viewing is that The Last House on the Left has an intermittent goofy sense of humor and a "groovy" attitude that is firmly mired in the early s.
The two policemen are really comic relief characters and very funny at that , but there is also a lot of humor surrounding the criminal quartet--this almost becomes a "black comedy" at times.
These sensibilities even extend to the music, which has a frequent hillbilly edge and lyrics that supply ex-positional material. Surprisingly, Hess, who plays Krug, wrote the music.
Despite the simplicity of the story and the fact that the MGM DVD release is the "most complete cut ever" according to Craven, there are problems with the story, whether due to the script or the editing.
Too many segues between major plot points are "jumpy". The chase s through the woods seems a bit random. It's not very well explained how the convicts end up at a home looking as they do.
Two characters find another who was missing, and it seems more like a dream sequence because of its arbitrariness, and so on. But overall, the story is effective enough.
Although many subtexts can and have been read into the film, the most interesting theme to me was that it's largely a "tragedy of happenstance".
Craven seems to be expressing a strong belief in chance and coincidence and focusing on the dark side of it.
Under that reading, we can maybe excuse some of the narrative jumps more easily. Although there are a number of similar films that I think are better than The Last House on the Left, including Ruggero Deodato's House at the Edge of the Park aka La Casa sperduta nel parco, --also starring Hess in a similar role, curiously enough, this is a must-see for serious horror fans because of its historical importance.
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