Après avoir enlevé et brutalement agressé deux jeunes femmes, un gang se réfugie sans le savoir dans une maison de vacances appartenant aux parents de l'une des victimes : une mère et un pèr... Tout lireAprès avoir enlevé et brutalement agressé deux jeunes femmes, un gang se réfugie sans le savoir dans une maison de vacances appartenant aux parents de l'une des victimes : une mère et un père qui se vengeront de manière horrible.Après avoir enlevé et brutalement agressé deux jeunes femmes, un gang se réfugie sans le savoir dans une maison de vacances appartenant aux parents de l'une des victimes : une mère et un père qui se vengeront de manière horrible.
- Récompenses
- 1 victoire et 8 nominations au total
Histoire
Le saviez-vous
- AnecdotesBruises are visible on both Paige and Mari's legs during the scenes in the hotel room. According to interviews, the bruises were a result of filming the scenes in the forest, which were filmed before the hotel room scene. The makeup crew tried to cover up the bruises; however, since the actors did their own stunts, the marks were too severe to be covered up by any makeup.
- GaffesThe boat in the film for which they could not find the keys was a newer model Ski Nautique. These particular boats do not use keys. They use a four digit start code which you must input into the keyless ignition panel. This panel is marked by a big red start button.
- Citations
Krug: [to John] What are the odds, man? Of course your little girl had a lot to do with it. You should be proud. How'd you make us, anyway? Did my fucking kid rat us out? That's it, isn't it? My fucking kid! Figured out who you were and blabbered his brains. Hey, by the way, y'all did a bang up job on my brother. He is really fucking dead down there!
- Bandes originalesCatch Me If You Can
Written by Gym Class Heroes, Patrick Stump and Pete Wentz (as Peter Wentz)
Performed by Gym Class Heroes
Courtesy of Fueled By Ramen Decaydance / Atlantic Recording Corp.
By Arrangement with Warner Music Group Film & TV Licensing / Epileptic Caesar / EMI Music Publishing (ASCAP) / Sony/ATV Songs LLC / Nervous Breakdance Music (BMI) / Sony/ATV Songs LLC / Chicago X Softcore Songs (BMI)
"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.
- ametaphysicalshark
- 12 mars 2009
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- La venganza de la casa del lago
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 15 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 32 752 215 $US
- Week-end de sortie aux États-Unis et au Canada
- 14 118 685 $US
- 15 mars 2009
- Montant brut mondial
- 45 995 223 $US
- Durée1 heure 53 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1