"Sigmund Fruit". Brutal scenes with funny soundtrack... It sure doesn't sound harmonious. As if the music is there for the compensation for the terror caused by the brutal killings. The scenes where the dying bodies swallowed by the water reminded me of the famous death scene in Altman's MCCABE AND MRS. MILLER.
Depressing rape-revenge movie about people at their cruelest filmed in almost documentary style and where murder and rape is for once portrayed disgusting and unattractive. Sandra Cassel is heartbreaking as innocent doomed girl forced to perform in sexual activities before death. David Hess is disgusting as the lead killer and gangbang leader.A truly dark movie where any attempt at humor feels forced and wrong.
Down to brass tacks: we're aware that this is pretty puerile stuff; that's its selling point. But LAST HOUSE remains a stand-alone kind of sick. Its stark disjointedness of tone and tendency to jocularity keep the viewer in a state of unaccustomed imbalance. And it digs neural grooves. You don't forget it. There's a deep nihilist pleasure here. The movie genuinely seems to be against life. This the Age of Aquarius?
Despite its plot contrivances and swings into buffoon-comedy, few films show terror as grim and affective. Methodical in its run time, a gritty, docu-drama approach, and ending without a traditional epilogue, this is horror as a reaction: throwing the viewer into disarray. It's so resoundingly haunting, disturbing, and powerful when it's in horror mode that you soon realize the dumb humor actually lets you breathe.
Un film à la violence baroque sur le thème sempiternel de la vengeance privée : oeil pour oeil dent pour dent. L'originalité vient de la gaieté presque naïve de la mise en scène et de la maladresse sans doute délibérée du montage et de la direction. Le résultat me paraît mitigé cependant parce que le propos est ambigu et peut-être tout simplement simpliste.
Beneath the surface of low-production values that come with Craven’s first feature is a slasher that feels familiar yet refuses to allow you to settle. Constantly flitting between depictions of grave horror and light comedic moments and a score that refuses to reflect the scenes it supports, begs the question whether Last House on the Left is an early masterstroke within the genre that Craven would...
I'm all for campy humour, but there's an awkward disconnection here between gruesomeness and comic relief. An unbalanced affair whose classic status I cannot for the life of me understand. There are a couple of quiet and arresting moments that are noteworthy, and I liked that the tension comes from something else than gore. Disturbing and disconcerting? Yes, but as a film somewhat forgettable.