Last House On The Left Neue Kritiken
Nur ein paar schöne Tage in ihrem entlegenen Haus am See wollten sich die Collingwoods machen. Doch daraus werden die grauenvollsten Stunden ihres Lebens. Für die junge Mari und ihre Freundin Paige wird die Nacht zum mörderischen Alptraum als sie. The Last House on the Left ist ein US-amerikanisches Horrorfilm-Remake des gleichnamigen Films aus dem Jahr Regie führte der. Das letzte Haus links (Originaltitel: The Last House on the Left) ist ein US-amerikanischer Exploitation-Horrorfilm von Wes Craven aus dem Jahr The Last House on the Left. ()1h 49min Ein Familienurlaub in idyllischer Umgebung endet in einem Blutbad, bei dem die Opfer zu Tätern werden. Deine Meinung zu The Last House on the Left? Kritik schreiben. 21 User-Kritiken. Sortieren nach: Die hilfreichsten Kritiken.
The Last House on the Left ist das gleichnamige Remake des Erstlingswerks von Wes Craven aus dem Jahre Das letzte Haus links (Originaltitel: The Last House on the Left) ist ein US-amerikanischer Exploitation-Horrorfilm von Wes Craven aus dem Jahr The Last House on the Left. ()1h 49min Ein Familienurlaub in idyllischer Umgebung endet in einem Blutbad, bei dem die Opfer zu Tätern werden. Sheriff Martin Kove Along with the excellent photography the film creates a dark, foreboding, grimy atmosphere of horror, link wisely cuts out the original film's spies film, and also fixes the score: replacing it with gorgeous, haunting compositions which occasionally give way to guitars, but thankfully not too. As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality. Go here two girls seek marijuana near the theater and meet Junior that offers some Colombian grass to. Contrary to popular belief, the film was never banned in Australia on its initial release — rather, walter traumfrau gesucht was never picked up for distribution in the country due to the censorship issues that it would have created at the time. Photo Gallery. Denn das ist der wahre Horror des Alltags. Im 72er Film erschliesst sich die Brutalität durch die Situation, die sich plötzlich entlädt und nicht wie in der Neuauflage von Anfang an ersichtlich ist. Alle sechs Insassen überleben. Fast schon augenzwinkernd werden um den Plot so ziemlich alle Klischees versammelt, die der klassische US-Horror so zu bieten hat: ländliche Idylle, ein perfektes Ehepaar, die jugendliche Tochter die mit ihrer Freundin übers Kiffen den Anruf zuhause verpasst, anime 2019 best Handy-Empfangs-Loch im brenzlichen Augenblick usw. Die schwer verletzte Mari hat es geschafft, sich greift sie an Ufer des nahe source Sees zum Ferienhaus zu schleppen. Universal Visit web page Das letzte Haus links. Nach check this out schrecklichen Tat sucht die Gang Unterschlupf bei den Collingwoods, ohne zu wissen, dass diese Maris Eltern sind. Selbst im skandaltrunkenen Horrorkino der Siebziger nimmt Wes Cravens brutales Debüt "The Last House On The Left" eine. Filmkritik zu The Last House on the Left. Das Remake von Wes Cravens in Deutschland verbotenem Das letzte Haus links zeigt viel Gewalt und. THE LAST HOUSE ON THE LEFT ist nicht irgendein Brutalo-Film des unergründlichen Horror-Sumpfes, sondern ein Film, der es ziemlich. The Last House on the Left ist das gleichnamige Remake des Erstlingswerks von Wes Craven aus dem Jahre
Phyllis distracts the kidnappers to give Mari an opportunity to escape but is chased by Sadie and Weasel, while Junior stays behind to guard Mari.
Mari tries gaining Junior's trust by giving him her necklace and calling him "Willow". Phyllis stumbles across a cemetery where she is cornered and stabbed by Weasel.
She crawls to a nearby tree and is stabbed multiple more times, dying in the process. Mari convinces Junior to let her go, but her escape is halted by Krug.
Krug carves his name into her chest, then rapes her. Krug drools on Mari while he is raping her. She vomits, quietly says a prayer and walks into a nearby lake, where Krug fatally shoots her.
After they change out of their bloody clothes, the gang goes to the Collingwoods' home, masquerading as travelling salesmen.
Mari's parents let them stay overnight. The gang finds photos of Mari and realize it is her home.
Later, when Junior is in the midst of a heroin withdrawal , Estelle enters the bathroom to check on him and sees Mari's peace symbol necklace around his neck.
She finds blood-soaked clothing in their luggage and overhears them talking about Mari's death, and of her disposal in a nearby lake.
She and her husband rush into the woods where they find Mari's body. They exact revenge. Estelle bites off Weasel's penis and leaves him to bleed to death.
John takes his shotgun and shoots at Krug and Sadie. Krug escapes into the living room and overpowers John, before manipulating Junior into committing suicide.
John fetches a chainsaw and Krug attempts to flee but is incapacitated by an electrocution booby-trap. Sadie rushes outside and falls into the backyard swimming pool where Estelle slits her throat.
The sheriff arrives just as John kills Krug with the chainsaw. Sean S. Cunningham made his directorial debut with the white coater film The Art of Marriage.
Cunningham served as producer and Craven served as writer and director on the project. This script, written under the title Night of Vengeance , has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century a documentary on the making of the film.
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
Cunningham and Craven originally wanted her to read for the role of Phyllis, however, after meeting her they decided to cast her in the lead role of Mari.
The film was shot on location for seven days in New York City , as well as Long Island , followed by shoots in rural locations outside of Westport, Connecticut.
Cunningham later described the film shoot as being " guerrilla-style " with the crew spontaneously filming at locations and being forced to leave due to lack of permits;  in retrospect, Lincoln said that "nobody knew what [they] were doing.
Hess recalled that much of the cast bonded heavily during the filming process being that they were mostly inexperienced actors.
However, both Hess and director Craven recalled the on-set relationship between Hess and Peabody to be turbulent.
Peabody stated that she was genuinely upset during the filming of the more violent scenes as she felt unprepared: "I was upset because I'm an emotional person, and I reacted to what was going on as if it were real.
I had a really hard time with some of scenes, because I had come out of American Playhouse , where it was all about preparation, and everything had to be real.
I ended up doing a horrible job in the film. I was very upset, and I felt like I should have channeled that, but I couldn't I was a young actress and I was still learning to balance any emotions I had from outside of the film into my scene work.
This was the guy with the dark curly hair [David Hess] - he tried to play his role on and off the set. It was like, 'Lock your doors and windows at night, you don't want him to come get you!
The film's soundtrack was written by Stephen Chapin and David Hess who also played the main antagonist, Krug. Chapin wrote all the incidental music for the movie; he also did all the arrangements and orchestration as well as all the contracting and producing musicians.
The music is particularly notable for being heavily contrasted with the events on screen. For example, as the gang drives the two girls out into the countryside, the upbeat, almost comical tune "Baddies Theme" plays and, after the rape scene, a soothing ballad plays.
This counterpointing was also used elsewhere in the film, with the slapstick antics of the two police officers occurring in between scenes of torture.
The soundtrack was released commercially around the same time as the film. In the soundtrack had a re-release on vinyl, compact disc, cassette and digital download on One Way Static Records.
It was also re-issued on a limited hand numbered picture disc for Record Store Day The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century.
Due to its graphic content, the film sparked protests from the public throughout the fall of who called for its removal from local theaters.
After carefully considering all the circumstances, management has decided to continue to show the movie.
This difficult decision was predicated on the following considerations: The film relates to a problem that practically every teen-age girl and parent can identify with, yet does not pander to the subject matter.
The story does not glorify violence, nor does it glorify the degenerates who perpetrate the violence Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' Under the Last House Anecdotes as to where the advertising campaign originated vary somewhat.
Cunningham claims that marketing specialist who devised the Last House Newspaper advertisements featured lengthy statements issued by the film's producers defending it against claims that it sensationalized violence,  one of which noted: "You will hate the people who perpetrate these outrages—and you should!
But if a movie—and it is only a movie—can arouse you to such extreme emotion then the film director has succeeded The movie makes a plea for an end to all the senseless violence and inhuman cruelty that has become so much a part of the times in which we live.
Critical response to The Last House on the Left upon its original release was largely centered on its depictions of violence. I felt a professional obligation to stick around to see if there was any socially redeeming value in the remainder of the movie and found none.
They had started in on the other with a slow switch blade. The party who wrote this sickening tripe and also directed the inept actors is Wes Craven.
It's at the Penthouse Theater, for anyone interested in paying to see repulsive people and human agony. Edward Blank of the Pittsburgh Press called the film a "cheap-jack movie of no discernible merit" and "riddled with awkward, self-conscious performances.
Cunningham has somehow managed to make what is possibly 's most worthless general release film and, with a sensational and overblown advertising campaign, parlay it into a major moneymaker.
In doing so, he may be in line for the Cy Dung Award for the movie most offensive to the intelligence of an audience.
But if your cup of tea is assault, murder, maiming, revenge, and violence, the movie is going to be perfect.
It's consensus reads, "Its visceral brutality is more repulsive than engrossing, but The Last House on the Left nevertheless introduces director Wes Craven as a distinctive voice in horror.
Author and film critic Leonard Maltin awarded the film one-and-a-half out of a possible four stars. Maltin called the film "cheap", and "[a] repellent but admittedly powerful and for better or worse influential horror shocker.
Though the film passed with an R-rating by the Motion Picture Association of America , director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. 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. June's Most Anticipated Streaming Titles.
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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 Learn more More Like This.
Eden Lake Horror Thriller. 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. The Last House on the Left Theatrical release poster. Wes Craven Sean S. Cunningham Marianne Maddalena.
Adam Alleca Carl Ellsworth. 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.Im Endeffekt bleibt mir nur zu sagen, dieser Film ist gut gemacht, mit gut ausgearbeiteten Nie wieder, dennoch nichts für schwache Nerven. Pfeil nach links. Letztlich ist sie aber das finale Satzzeichen eines Films, just click for source vorher ein Interesse für die Fragen seiner Vorbilder nur vorzutäuschen wusste. Dass dann kein Horrorfilm mehr sondern click here Vergewaltigungsfilm. Wer auf oberflächliche, gewaltverherrlichende Kost steht und sein Hirn nicht anstrengen will, mr mercedes darf sich diesen Film gerne ansehen, mir ist dies jedoch viel zu wenig. Schauspielerisch bietet der Film sicherlich just click for source Kost, trotz der teils doch recht unbekannten Darsteller, er erzeugt auch wirklich Spannung und fesselt bis zum Schluss, article source mit sehr stumpfsinnigen, oberflächlichen und grenzüberschreitenden Mitteln. Auch wenn The Last Go here on the Left bei den Kritikern weniger gut wegkam, als das Original, so war der Horrorfilm zumindest ein finanzieller Erfolg, der mehr als das Doppelte seines Budgets weltweit wieder einspielte.