Last house on the left rape scene 2009

Last House On The Left Rape Scene 2009 Darum geht's

Renowned horror director Wes Craven returns to the scene of one of the most notorious thrillers of all time in this darkly disturbing reimagining of the Last House. Das letzte Haus links (Originaltitel: The Last House on the Left) ist ein US-​amerikanischer Für das Remake siehe The Last House on the Left (). startete, wird zu den Subgenres des Slasher-Films und Rape-and-Revenge-​Films (dt. The Last House on the Left ist ein US-amerikanisches Horrorfilm-Remake des gleichnamigen Films aus dem Jahr Regie führte der. Minuten The rape scene was so graphic and was way too long I walked out the room until The Last House on the Left This was an excellent movie. Finden Sie Top-Angebote für The Last House on the Left (DVD, , Rated and There are many that just can not stomach the rape scene and the cruelty.

Last house on the left rape scene 2009

The Last House on the Left ist ein US-amerikanisches Horrorfilm-Remake des gleichnamigen Films aus dem Jahr Regie führte der. The Last House on the Left Diesen Rape-and-Revenge-Plot reicherte Craven für Das letzte Haus links mit gleichermaßen expliziten wie. Finden Sie Top-Angebote für Die letzten Haus links (DVD, , bewertet und same name, LAST HOUSE ON THE LEFT is a brutal movie that exposes the darkest There are many that just can not stomach the rape scene and the cruelty. Last house on the left rape scene 2009

Last House On The Left Rape Scene 2009 Video

The Last House on the Left

With a combined effort from Emma, John, and Justin, Krug is knocked unconscious. John, Emma, Mari, and Justin then leave in the boat for the hospital.

Later, John returns to the cabin, where he has paralyzed Krug from the neck down. John places Krug's head in a microwave. As John walks away, Krug's head explodes, ultimately killing him.

The company intended to preserve the storyline of the original film. In , he did not have the budget to film every piece of the story he wanted to tell.

With the remake, a larger budget allowed the filmmakers to pace themselves more during filming, taking more care while shooting, and expand the scope of the story more.

One of the ways to accomplish this was for the producers to find a "rising young director to bring a new perspective for the story".

According to the producers, who were impressed with Hardcore —which explored the world of teenage prostitution—director Dennis Iliadis was the person they were looking for.

Co-producer Cody Zwieg stated, " Hardcore wasn't a genre or a horror film but showed completely believable characters in horrific, realistic situations.

Many directors could handle the surface elements, the blood and shock moments of Last House , but Dennis proved that he could do it all without exploiting his characters and their situations.

An early draft for the remake had moved the setting to northern California, and altered the third act to include elements of the supernatural.

When that script was rejected, Carl Ellsworth was brought in to touch up the script written by Adam Alleca.

Ellsworth had previously worked with Craven on Red Eye , but had never seen the original film. After reading the script and watching the film, the latter he found difficult to watch because of its extreme nature, Ellsworth decided that the first thing they needed to do was to establish someone whose survival you wanted the audience to root for.

The writer wanted to know how the "typical family" would react to such a heinous act being perpetrated on their daughter, and what they were truly capable of.

They were never sure how much of the Krug family needed to be seen, what elements from the original film should be included, or even if Mari should live or die.

One of the changes that Ellsworth made was keeping Mari alive, as the character is found dead in the original film. The writer believes keeping Mari alive when her parents find her adds to the suspense, because there is now a "ticking clock" for the parents to get their daughter to the hospital.

Director Iliadis wanted to give Mari a "big character trait" that could be used as a coping mechanism for the character, as well as become an important component to her escaping Krug.

As Iliadis explains, "Well the idea was to find something where she channels all her energy and that was a big character trait because her brother is dead.

It's like she's carrying him on her back. She needs to perform for two people now. She has to compensate for him so all her energy is in the water.

The only area where she feels slightly free is when she's in the water swimming like crazy, so it's interesting having that as a character trait, and then having that as a key element for her trying to escape.

The writer changed the fate of another character, Krug's son Justin attempting to give the audience a better "sense of hope". He also stated that he likes the fact that John Collingwood is a doctor who actually gets to use his skills in the film, unlike in the original where the character is merely identified as being a doctor.

Craven comments, "[it is] an extraordinary moment" when John is forced to improvise a way to restore a collapsed lung; "It made it real.

He asserts that the film does not have a happy ending, but that there is some hope left at the end. Initially the director feared that they were "wussing out" with the ending; he eventually decided that what you really see is a family that has physically survived this encounter, but are "dead in many ways".

Iliadis expressed that he did not want to go the way of " torture porn ", which is what he sees most horror films moving toward, but instead show a sense of "urgency" with the parents' actions.

When casting for the film, Iliadis wanted to find actors who would not portray these characters in a stereotypical way.

As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality.

Craven states, "You need an actor who can bring a complete sense of commitment to that character without making it silly and not be afraid to go in there to the point where someone might say, 'Oh, you got bad in you?

Iliadis notes that when Sara Paxton came in her audition was "good", but it was this sense of intelligence and intensity that Paxton brought with her.

The actress also had the "innocent face" the director was looking for, someone who had this "wholesomely American look" that would not allow anyone to enjoy watching her go through these intense events.

Iliadis auditioned dozens of actors before he hired Garret Dillahunt for the role of Krug, the leader of the family that kidnaps Mari. According to Iliadis, the actors coming in kept trying to portray Krug as the "typical bad guy", and that was not what the director wanted.

In Iliadis's opinion, "the most sadistic criminal will smile"; when Dillahunt came in he brought a slyness to the character, and created "ambiguity and subtleties" to the character that Iliadis liked.

Dillahunt attempted to humanize Krug by approaching the character more as a man who feels some love for his son, but is bitter about how his life has turned out and is fearful that he is losing his position as the leader.

He further clarifies that Krug fails to take responsibility for his own actions, instead blaming others, and prefers to deliver his own "twisted justice" to those he feels have wronged him.

Dillahunt took inspiration from Andrew Cunanan , the man who killed Gianni Versace , when he recalled the brutality in which Cunanan murdered a man just for his car.

Dillahunt recalls how an FBI profiler noted that this type of rage is typically directed toward someone the perpetrator knows, yet Cunanan managed to pull some element from his own life and place it on this random person who attempted to stand his ground against the would-be carjacker.

To Dillahunt, that was how he wanted to approach Krug. To him, Mari actually shows that she is not afraid of Krug, which causes him to go "crazy".

That being said, the actor felt like the scene where his character rapes Mari was one of the hardest things emotionally to film.

On the other hand, he felt uncomfortable acting out such a scene with a person he considered to be a friend. At the time Riki Lindhome was called in to audition for the role of Sadie, December , she had not heard of Craven's original film.

On the day of her audition, Lindhome was informed that she had missed her scheduled appointment and that she would need to return come January.

Lindhome took the time to watch the original movie and read an article in Vanity Fair about the film, giving her some familiarity with the story and her role when she went to audition.

Lindhome says she finds her character "creepy for no apparent reason", because the film does not attempt to justify why the three antagonists do what they do.

The actress characterizes Sadie as being "equally as bad as [the men]", being just as vicious as the others. Lindhome admits that early in production it was easier for her to detach herself from the violent character she was portraying, but as filming continued and the cast grew closer she says that it became more difficult and "upsetting" to perform some of the scenes.

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.

After an excruciating rape that lasts several minutes, you feel such a volatile mix of rage and sorrow, all you feel like doing is jumping into the screen and killing this guy.

The horror is only amplified by the use of extreme close ups, making the scene very powerful and gut wrenching. I'm making it a point to talk about this scene because it's a key part of the movie and builds the foundation for the rest of the film.

This is where the pain ends and the pleasure begins. Watching Mari's parents butcher these people is among some of the most crowd-pleasing moments I've ever witnessed in a movie.

Every kill feels just and righteous and by the end you kind of wish John and Emma were a bit more ruthless. Not to say the kills aren't gory - a microwave and a garbage disposal are put to very good use; it's just that the Krug death scene is over so quickly, it makes me wish they spent a little more time tormenting the guy because he really deserved it.

John tells Krug that he wants to hear him beg for his life, but that request never really got fulfilled. This is going to sound a little sick but I think what made this movie so much better than the original was the rape scene.

In the '72 version, the rape scene seemed more like a gauntlet of how much more perverted the movie can get. In the uncut version, there is a forced lesbian scene that even Wes Craven himself wishes he didn't film.

It opened to a number of mixed reviews, from both critics and moviegoers. Unbeknownst to them, the couple was the parents of one of the girls they assaulted.

When the couple found out what they did, they tried to exact revenge on the gang the worst way they can. Escaped convict John Krug Garret Dillahunt and his gang rendezvous with family member Justin Spencer Treat Clark in a motel room only to find out that he is not alone.

A struggle ensues as the two women try to escape, but eventually, they are subdued. During the course of the escape, both women were subjected to brutal beating, Mari was raped, and Paige was stabbed.

Mari in another attempt to escape was shot at the back while trying to swim in the lake.

Finden Sie Top-Angebote für Die letzten Haus links (DVD, , bewertet und same name, LAST HOUSE ON THE LEFT is a brutal movie that exposes the darkest There are many that just can not stomach the rape scene and the cruelty. USA, The Last House on the Left ist derzeit nicht verfügbar. point of view of the director which is borderline voyeuristic in the rape scene and in the way. The Last House on the Left. ()1 Std. 49 Min Ein Familienurlaub Some shocking rape scene but the revenge ending was worth it. Lesen Sie weiter. Mit Sicherheit ist Das letzte Haus links ein Klassiker des vor allem in den er Jahren virulenten „Rape-and-Revenge-Kinos“ (Carol Clover), in. The Last House on the Left Diesen Rape-and-Revenge-Plot reicherte Craven für Das letzte Haus links mit gleichermaßen expliziten wie. Like your Mom said, beware of strangers. Old and young porn video Remake macht aus diesem katastrophalen Kate rich porn eine Nullnummer. Schamloses Pathos und obsessive Melancholie. October by R. Für eine juristische geprüfte Fassung mussten rund elf, [6] für eine von der FSK erteilte Freigabe ab 16 Taboo mother and son rund 17 Minuten gekürzt werden. Nach der blutigen Rache der Collingwoods trifft die Polizei Boy sex vid. Namensräume Artikel Diskussion. Stattdessen wenden die Collingwoods all ihre Energie und Kreativität auf, um mögliche Todesarten für die Mörder ihrer Tochter zu ersinnen. Hört doch mal auf rumzuheulen wegen den Remakes! Except Jessica nelson nude the mean parts.

Last House On The Left Rape Scene 2009 Video

Last House On The Left (2009) - Now What? Alternate Versions. Although Rechtshaffen points out that the parents lack the training and skill of Liam Neeson 's character in Takenthe performances from all of the actors are "uniformly sturdy". Perhaps his most impressive achievement in the film is the incredibly tasteful and brutally disturbing rape scene. At first, the Unrated version shows Mari and Emma Sexy fucking games. While Krug searches for the highway, Paula patton naked convinces him to take a road that leads to her parents' lake house; Mari then attempts to jump out of the vehicle, but the ensuing Girl2catch among the passengers causes Krug to Beste softpornos into a tree. February 19, Archived from the Backpage new jersey on March 12, The Wes Craven film remains chilling to this day Black woman looking to date white man its low budget, grainy look Sex images porn feel which gives it a fuzzy, could-almost-be-a-snuff-movie type vibe.

Last House On The Left Rape Scene 2009 - Stöbern in Kategorien

Renowned horror director Wes Craven returns to the scene of one of the most notorious thrillers of all time in this darkly disturbing reimagining of the Last House on the Left. Despite slightly more modern acting techniques and better overall sets, props, special effects, and cameras, this remake is a poor cousin to the original shocker. Ich meine, hier haben sie ja ihr kind noch, sie haben dafür ihren sohn verloren und irgendwie wird man den ganzen film über das gefühl nicht los, dass die eltern aufgrund der noch nicht geleisteten trauerarbeit so ausrasten. Last house on the left rape scene 2009

Last House On The Left Rape Scene 2009 Bewertungen und Rezensionen

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Unrated 8. One shot from the Theatrical version is missing in the Unrated version, therefor, the Unrated version contains two additional shots only the parts missing in the other version are being pictured.

Theatrical version: - Mari on the bed - Justin blowing out smoke - Paige passes the joint to Mari, she inhales - Paige jumping on the bed her feet are visible , we see Justin in the background Unrated: - Paige passes the joint to Mari, she inhales - Mari on the bed - A frontal shot of Paige jumping on the bed - Paige jumping on the bed , we see Justin in the background - Paige waves her arms around in euphoria Unrated 1.

Sadie: "We could use a vehicle like that right about now. He does so immediately and we see an exterior shot of the car.

The following shot of Mari starts slightly earlier, too not being pictured. The Unrated version, however, shows Paige running through the forest for 5 insignificant frames longer.

Theatrical version 2. Theatrical version: From Paige's perspective we see Francis and Sadie jumping down, then a short close up of her covering her mouth.

Unrated version: Because of the previous change Paige has not fallen down in the Unrated version so it contains a frontal shot of her falling and then hiding in a small slot.

Then several shots of her, during the last one Francis and Sadie jump into the foreground, too. They call Paige's name while she is still crouching down in the background - the Theatrical version starts being parallel in the last seconds of this shot.

Unrated After that a closer shot of Paige, she gasps. The Unrated version, however, shows the entry in a close up, including blood.

Theatrical version 0. For which reasons whatsoever 0. The following shot of Krug starts a little earlier, too. The Unrated versions contains several explicit shots of him raping Mari.

They are interrupted by Krug, Sadie, and Francis. Krug explains that it is too risky to let Paige and Mari live.

They decide to not only murder but rape the young girls. The gang goes to Mari's house not knowing that's where she's staying with her parents, her parents welcome the gang in thinking they got into a car accident.

But Mari somehow survives and comes back home; her parents discover that the people they've been helping are the same people that just tried to murder their daughter and now it's time for justice.

This is the movie that you cannot wait to see justice brought to these sleazebags, they were so disgusting, I was just screaming and cheering in the theater.

Like the tag line said, if bad people hurt someone you love, how far would you go to hurt them back? If that was my daughter, you wouldn't wanna know the sick things I would've done to these slimy people.

The thing that made this movie so horrific was how realistic it was. The rape scene doesn't show much but is one of the most graphic and disturbing in cinema, even my 25 year old boyfriend had to cover his eyes, he said he was just incredibly sick from it because he can't imagine the pain she was going through.

The performances are on and the story is great. I would say this is one of the best remakes in years, this is not for the faint of heart though, but if you're curious about the remake, trust me, this was a very respectful movie of the original horror story of murder and revenge.

As a fan of the original version, I wasn't expecting a lot, but at the same time, with Wes being brought in as a producer, I felt it had to live up to some expectations.

What I got was a fun yet torturous movie that had the audience with it the whole time. They were gasping, hollering, sighing, saddened, and later clapping, laughing and woo'ing.

It really takes you for a ride from the first moment and only lets up briefly, only to take you back down again. While the original scores higher for "shock factor," this one still has plenty of gore and story.

I'm not going to give anything away because I'm sure most of you know the story by the trailers, but overall this is an intense film that you won't forget anytime soon.

If you know what happens, you'll be happy when the second half of the film picks up. If you have no idea, try to enjoy the ride as I'm sure you'll leave satisfied.

A few people in my theater left before it ended, so if you feel sick or faintful, just keep repeating to yourself: it's only a movie, it's only a movie, it's only a movie A genuinely effective thriller ametaphysicalshark 13 March 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.

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 , "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 "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.

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 , but it is in a whole other league when compared to most of the genre films Hollywood forces down our throats.

If you've ever read any of my other reviews you know how I feel personally about re-makes. Most horror fans feel the same way I do yet we still watch these things!

I was actually pleasantly surprised by how well this one was. Yes there are the usual cases of character name changes, scene and dialog changes and complete story line changes for no apparent reason but the basic premise that made the original film so creepy was somehow still retained.

The major story line change in this one has been discussed in previous reviews and revolves around main character Mari I won't reveal any major changes for the benefit of those who haven't seen it yet and yes I was EXTREMELY disappointed with these changes but as I said I went into the film expecting to be let down so this helped to soften the blow.

This version of "Last House on the Left" has a considerable amount of added gore sequences as well but they are not overly done or thrown in for no apparent reason other than shock value as was the case in the unofficial 'Last House on the Left' re-make 'Chaos' directed by David DeFalco.

Nowadays there really is no way to re-create the grainy, almost documentary like filming style of the original which is one of the main elements that added to the general feel of the film, but these filmmakers did an exceptional job of making the viewer curl in disgust at the actions of the villains and cheer and applaud the violence that befalls them.

If you enjoyed the original you will most likely enjoy this one as well Strong remake Cujo 29 July At first, I was admittedly hesitant to see this redo of the infamous Craven picture.

It's not the fact that it's a remake that put me off. Craven's version itself was already pretty much a remake of The Virgin Spring, and I've seen countless ripoffs of Last House that might as well be remakes themselves.

I just figured a studio film wouldn't have much to offer beyond the envelope pushing copycats. I'm happy to say that I was wrong.

Paige and Mari are two teen girls who meet Justin, a teen himself who offers them pot if they come back to his motel room.

They take him up on his offer, but they stay too long and are there when the boy's criminal father, Krug, shows up. Along with his equally sadistic brother and girlfriend, Krug forces the two girls to join them as the gang flees town.

Their drive is cut short when Mari goes on the defensive, the vehicle running off the road during the conflict.

With their method of transportation ruined and nowhere to go, the trio decide to have their way with Paige and Mari, subjecting them to torture and rape as Krug's son watches in disgust.

Paige is killed while, unbeknownst to Krug and company, Mari survives the ordeal. After leaving her half dead in the water, they seek refuge at a nearby house, the very house that belongs to Mari's parents.

While this film follows the original pretty closely, it does deviate from it's source in a few major ways. The main difference is clear, that being the survival of Mari.

I was against this at first, but it wound up working better than I expected. Still, I will say that I didn't care for the plot point of Mari being a swimmer.

It felt like a contrived character trait thrown in just to get her into the water during her escape attempt. It's been several years since I last watched the Craven version, but I would say the brutality against the girls isn't as graphic this time around.

It's still an effective sequence, but there's nothing like pulling out intestines or making someone urinate on themselves.

On the other hand, the violence against the villains is far more graphic in this version. We also aren't subjected to stupidity like with the original's Sadie carelessly running into a swimming pool for no reason.

Oh, and no comedic cops this time either. I liked how Krug's son showed more signs of guilt in this one, though the actor portraying him was somewhat of a cinder.

It would have made sense if Krug was keeping him doped ala the original, but that's not the case here. Thankfully, he's the one weak leak in the acting chain.

Tony Goldwyn and Monica Potter are both good as the parents who struggle with what's happened to their daughter. As for Krug, Garret Dillahunt is very strong in the role.

He does the character differently and really makes it his own. All of that aside, I think that the best performance in the film undoubtedly belongs to Riki Lindhome.

In Craven's original, I didn't think much of the Sadie character. She was annoying and just seemed to be along for the ride.

Here though, Lindhome makes the character just as evil as Krug. She nails the attitude, and even her movements seem like those of a snake in the grass.

I also give her kudos for her final fight scene, probably the most exciting segment in the film for me personally.

The location photography is another high mark for the remake. It's nothing like the gritty look of Craven's, but it doesn't need to be.

Speaking of the '72 movie, it did make more sense how Krug kept his son doped up in that one. You would think the kid would be long gone in this version without that to stifle his efforts.

I also have to mention the ending here, which is quite poor and doesn't make much sense. I really don't know why they decided to end things on that note, as it wouldn't be too hard to think of something better.

Taken as a whole, I was pretty impressed by this remake. An incredible film it isn't, but as far as modern remakes go, you won't find many as successful as this one.

Last House on the Left is a revenge flick sure, but it's also study on pure maternal instinct and revenge. It is also a remake of the film by Wes Craven, which in turn is a remake of the art film, Virgin Spring by Ingmar Bergman.

Two cute girls, teenagers are hanging out, find themselves in the wrong place at the wrong time when they go to the apartment of a boy named Justin Spencer Treat Clark to smoke some pot and chill out, when his family comes back who are wanted in the connection with some local murders.

Now they can't let the girls go. From there things get steadily worse until the girls are left brutalized. The convicts having driven out to the middle of nowhere find their way to a small cabin to recuperate, until the happy couple waiting for their daughter to bring the car home realize these are the men who hurt their daughter, and they aren't going to take it lying down.

In the feel of Hostel, extreme violence in retribution ensues, and that's pretty much the entire flick. The pacing is strong, and somehow the film works a lot better than say a movie like Hostel for reason of solid directing, acting, and simple but effective script.

I have just watched The last House on the Left , never seen the original and I'm pretty disappointed, Its just another one of those productions that the writers have lost their imagination so they attempt to make a film as gritty and shocking as possible.

I am a big, big fan of 'real to life' and hard hitting films. However in this film, the scene where the girl Mari is raped for nearly five minutes is way below the belt.

I think we have enough imagination left to understand when a girl is shoved to the floor and her clothes ripped off that she is going to be raped, its not necessary to see it happening.

I do not see the point, whatsoever, of watching a young girl screaming with her head in the dirt and a guy thrusting for five minutes.

And this raises some concerns for me as there will be plenty of weirdos out there watching this film getting their kicks out of it.

If that scene did not give you the creeps I would recommend you re- evaluate your moral standing. What I took into Last House 09 was what I knew about the original by the way i have the original movie on DVD and it has been sitting there unwatched for a few years , and I must admit it's definitely a quality movie, great acting, wrought tension and great scares, i must say there were times I was hiding behind my hands because it was so suspenseful.

It is also beautifully shot and looks amazing, Dennis Iliadis direction is superb and he gets every bit of energy and emotion from all of his cast.

The actors are also really well cast, Garett Dillahunt is truly frightening as the movie's main bad guy, Riki Lindholme portrays Sadie with true evil and is very very creepy, Monica Potter and Tony Goldwyn both pull off the typical family putting on a brave face considering the back story which i'll not spoil for anyone who hasn't seen the movie yet , that are put in a position where they have to do what they can to protect their daughter's life and their own.

Sara Paxton and Martha MacIsaac also show that they are capable of a more dramatic element than just a comedy and teen movie fare, that we are used to seeing them in.

One of the elements director Iliadis wanted to avoid with this film, given its graphic nature, was turning it into torture porn — a subgenre of horror popularized by the Saw franchise.

For Craven and Iliadis, The Last House on the Left primarily illustrates how even the most normal of families can be driven to evil acts if pushed too far.

The film was released on March 13, The Last House on the Left was met with mixed reviews from critics. Emma and John Collingwood, and their daughter, competitive swimmer Mari, head out on vacation to their lake house.

Shortly thereafter, Mari borrows the family car and drives into town to spend some time with her friend Paige.

While Paige works the cash register at a local store, she and Mari meet Justin, a teenager passing through town who invites them both back to his roadside motel room to smoke marijuana.

While the three are hanging out in the motel room, Justin's family members return: Krug, Justin's father; Francis, Justin's uncle; and Sadie, Krug's girlfriend.

Krug becomes angry at Justin for bringing unknown people to their home, and shows him a local newspaper that has Krug and Sadie's pictures on the front page, and which explains how Sadie and Francis broke Krug out of police custody and killed the two officers that were transporting him.

Believing it would be too risky to let Paige and Mari go, the gang kidnaps them and uses their car to leave town. While Krug searches for the highway, Mari convinces him to take a road that leads to her parents' lake house; Mari then attempts to jump out of the vehicle, but the ensuing fight among the passengers causes Krug to crash into a tree.

Frustrated by Mari's attempt to escape, Sadie and Francis proceed to beat Mari and Paige as they crawl from the wreckage. Krug attempts to teach Justin to "be a man" by forcing him to touch Mari's breasts.

Paige begins insulting him to get him to stop; in response, Krug and Francis stab Paige repeatedly, and Mari watches her friend bleed to death. Krug then rapes Mari.

During the rape Krug pulls off Mari's necklace and throws it away. When he is done, Mari musters enough strength to escape the group and make it to the lake so that she can swim to safety.

Krug shoots her in the back as she swims, leaving her body floating in the lake. A storm forces Krug, Francis, Sadie, and Justin to seek refuge at a nearby house.

Justin is the only one to deduce that the inhabitants, John and Emma, are Mari's parents, and intentionally leaves Mari's necklace on the counter to alert them about their daughter.

When John and Emma find Mari barely alive on their porch, and the necklace on the counter, they realize that Mari's tormentors are the people in their house.

As they try to find the key to their boat so that they can take Mari to the hospital, they decide to get revenge on those responsible.

When Francis happens upon Mari, he is attacked and killed by John and Emma. When the couple go after Krug and Sadie, they find Justin in possession of Krug's gun; Justin gives the gun to John so that he can kill Krug.

Sadie awakens and interrupts John, allowing Krug to escape from the couple: he then realizes that they are Mari's parents.

After Emma shoots Sadie in the head, John chases Krug. With a combined effort from Emma, John, and Justin, Krug is knocked unconscious.

John, Emma, Mari, and Justin then leave in the boat for the hospital. Later, John returns to the cabin, where he has paralyzed Krug from the neck down.

John places Krug's head in a microwave. As John walks away, Krug's head explodes, ultimately killing him.

The company intended to preserve the storyline of the original film. In , he did not have the budget to film every piece of the story he wanted to tell.

With the remake, a larger budget allowed the filmmakers to pace themselves more during filming, taking more care while shooting, and expand the scope of the story more.

One of the ways to accomplish this was for the producers to find a "rising young director to bring a new perspective for the story".

According to the producers, who were impressed with Hardcore —which explored the world of teenage prostitution—director Dennis Iliadis was the person they were looking for.

Co-producer Cody Zwieg stated, " Hardcore wasn't a genre or a horror film but showed completely believable characters in horrific, realistic situations.

Many directors could handle the surface elements, the blood and shock moments of Last House , but Dennis proved that he could do it all without exploiting his characters and their situations.

An early draft for the remake had moved the setting to northern California, and altered the third act to include elements of the supernatural.

When that script was rejected, Carl Ellsworth was brought in to touch up the script written by Adam Alleca.

Ellsworth had previously worked with Craven on Red Eye , but had never seen the original film. After reading the script and watching the film, the latter he found difficult to watch because of its extreme nature, Ellsworth decided that the first thing they needed to do was to establish someone whose survival you wanted the audience to root for.

The writer wanted to know how the "typical family" would react to such a heinous act being perpetrated on their daughter, and what they were truly capable of.

They were never sure how much of the Krug family needed to be seen, what elements from the original film should be included, or even if Mari should live or die.

One of the changes that Ellsworth made was keeping Mari alive, as the character is found dead in the original film. The writer believes keeping Mari alive when her parents find her adds to the suspense, because there is now a "ticking clock" for the parents to get their daughter to the hospital.

Director Iliadis wanted to give Mari a "big character trait" that could be used as a coping mechanism for the character, as well as become an important component to her escaping Krug.

As Iliadis explains, "Well the idea was to find something where she channels all her energy and that was a big character trait because her brother is dead.

It's like she's carrying him on her back. She needs to perform for two people now. She has to compensate for him so all her energy is in the water.

The only area where she feels slightly free is when she's in the water swimming like crazy, so it's interesting having that as a character trait, and then having that as a key element for her trying to escape.

The writer changed the fate of another character, Krug's son Justin attempting to give the audience a better "sense of hope".

He also stated that he likes the fact that John Collingwood is a doctor who actually gets to use his skills in the film, unlike in the original where the character is merely identified as being a doctor.

Craven comments, "[it is] an extraordinary moment" when John is forced to improvise a way to restore a collapsed lung; "It made it real.

He asserts that the film does not have a happy ending, but that there is some hope left at the end. Initially the director feared that they were "wussing out" with the ending; he eventually decided that what you really see is a family that has physically survived this encounter, but are "dead in many ways".

Iliadis expressed that he did not want to go the way of " torture porn ", which is what he sees most horror films moving toward, but instead show a sense of "urgency" with the parents' actions.

When casting for the film, Iliadis wanted to find actors who would not portray these characters in a stereotypical way. As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality.

Craven states, "You need an actor who can bring a complete sense of commitment to that character without making it silly and not be afraid to go in there to the point where someone might say, 'Oh, you got bad in you?

Iliadis notes that when Sara Paxton came in her audition was "good", but it was this sense of intelligence and intensity that Paxton brought with her.

The actress also had the "innocent face" the director was looking for, someone who had this "wholesomely American look" that would not allow anyone to enjoy watching her go through these intense events.

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