Watch The Last House on the Left For Free

Too much of everything

Really Surprised!

Good story, Not enough for a whole film

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

This is Wes Craven's first movie off an psychological thriller from the 70's. I am doing originally Wes Craven marathon and I re watch some of his early work movies that I haven't seen before. So I start by this movie The Last House on the Left from the 70's, Wes first movie and I can say it was a good movie, but I don't like and I have a problems with it. This movie is the most disturbing rape/revenge movie I have ever seen. It is definitely not my favorite Wes Craven movie, it is not a classic or Wes Creven's masterpiece like some reviewers wrote that in the title, but it is really good to watch on it is own way. I want to make my top 10 Wes Craven favorite movies and some guy on YouTube said this is his favorite movie. Sadly it is not mine and I don't like it. There are some elements and things that I did I liked about this movie and I am going to start talking about the things that I like.Things I like: The acting in this movie is really well human acted from everyone. Sandra Peabody and Lucy Grantham acted really humanly realistic and they well portrayed their characters Mari and Phyllis. Lucy Grantham for me was incredible she humanly acted brilliant her character Phyllis Stone as the victim. She was very brave and a caring heroine in this movie, even tough she died on the end, I absolutely love her character.Sandra Peabody as Mari Collingwood was emotional and very caring girl with a heart that she left a remorse on the viewer. I was rooting for those two girls, than I would be rooting for the psychos which I did not!Wes Craven did an excellent job writing the script for this movie and the dialogues for the characters. He made a job well done directing for the first time.The rape scene in the woods in which Mari and Phyllis are naked and they had to make out was my favorite scene in which Phyllis is cheering Mari from crying and she try's to calming her down. That was old school acting and one of my favorite scenes in the movie.I love the scene in which Phyllis Stone character was forced to urinate her self that was very realistic performed, this is my favorite scene.Sandra Peabody acted her character humanly and she well acted perfectly as the victim Mari I love her.Everyone from the actors acted believable, especially the villains that have turned in to psychoses were amazing and brilliant.Martin Kove from The Karate Kid (1984) is in this movie and his character was likable. The cops in this movie were more caring about the missing girl than catching those escaped convicts. No one want's to drive two cops to Collingwood estate, which could happened in real life.Mari's parents report the missing of her daughter right away and they were making a birthday surprise party for her which it has a heart and soul in this movie.I liked the exacted revenge on the crooks by the end of the movie: John set's booby-trap's on the crocks. I love how John kills with a chainsaw Krug - - bad-ass scene I like it.David A. Hess, Fred Lincoln and Jeramie Rain as the villain's did and excellent job portraying their characters and I love them so much in this movie. This movie is fast paced, short at 1 hr and 24 Min's. Is not boring or over long it is entertaining and I have enjoyed watching the end of the film. Those are the elements I loved in this movie.Things I don't like in this movie and they are unnecessary: I don't like the rape scenes in this movie they are disturbing. I don't like the torture on those two girls. Sadie and Weasel stabbing and cutting Phyllis arm was horrible and disturbing.No one mentioned Phyllis Stone by the end of the movie not even the psychos or Mari's parents, she was forgotten that shouldn't have been!I hated the scene in the river in which Krug is keep firing his gun on a poor Mari I hated that scene! The punishment and the death scenes on the three villains exacting from Mari's parents were awful! They could have been executed way better. The booby traps could have exact way better in this movie.This movie is terrible shoot with the camera, even for the 70's horror film the picture quality were terrible. The Texas Chainsaw Massacre and Carrie movies are way better shot with the camera than this low budget film is.I hated Texas country songs and I hated the humor putting in this movie.I can only give this movie a 6/10 I can not give this movie a higher rating, because the movie wasn't that good. The rape and stabbing scenes are scary, disturbing and very terrifying.R.I.P. - Wes Craven (1939 - 2015) I really miss you and thank you for all the Freddy movies, thank you for all horror franchise and movies. Thank you for all your work Wes. I love you so much I wish you could done more horror movies, I really love them.The Last House on the Left is a 1972 American exploitation horror film written, edited, and directed by Wes Craven and produced by Sean S. Cunningham.6/10 Grade: C Studio: Hallmark Releasing Starring: Sandra Peabody, Lucy Grantham, David A. Hess, Fred Lincoln, Jeramie Rain, Marc Sheffler, Cynthia Carr, Gaylord St. James, Marshall Anker, Martin Kove, Ada Washington Director: Wes Craven Producer: Sean S. Cunningham Writer: Wes Craven Rated: R Running Time: 1 Hr. 24 Mins. Budget: $90.000 Box Office: $10,000,000

During the early 70's, exploitation films began to run the gamut of seedy, dilapidated theaters that were sprawled throughout cities. Featuring an extremely low budget, exploitation films captured an essence of the culture, one that began to emerge after the death of the late 60's summer of love. When The Last House on the Left was introduced to the public, it was advertised with the tagline "to avoid fainting, keep repeating it's only a movie…it's only a movie." What Wes Craven presents to the audience with his first feature length film is a tacky, ultra-violent, and ultimately unnecessary foray into exploitation cinema, yet one that is sickeningly satisfying, helping change the face of cinema forever.Quickly establishing itself as a film with little morals, but with the potential for values, The Last House on the Left opens with the loving and caring family of the Collingwoods, whose house rests with woods on each side. On the eve of their daughter Mari's (Sandra Cassel) 17th birthday, her parents agree to let her attend a concert in the city with her friend Phyllis (Lucy Graham). Attempting to score some weed after the show, Phyllis encounters Junior (Marc Sheffler), the son of newly escaped convict Krug (David Hess), who has holed up in an apartment building along with fellow fugitives Sadie (Jeramie Rain) and Fred "Weasel" Podowski (Fred Lincoln). What follows is exactly what the films tagline wants you to begin repeating to yourself, "it's only a movie…it's only a movie." Produced by Sean S. Cunningham, who would later direct one of the most quintessential slasher films of our time with Friday the 13th, The Last House on the Left is filmed with the exact low budget graininess that other exploitation films of its time are. One defining difference Wes Craven gives it is an immense sense of well being, established by the blossoming friendship of Mari and Phyllis. While I've certainly never discussed my newly developed testicles or how my body has really filled out over the past season with anyone, watching it being discussed by the two establishes innocence, one that only a woman and possibly her parents could truly feel. This innocence, aided by the loving care of Mr. and Mrs. Collingwood builds us up for the inevitable drop that comes with the young women encountering the gang of fugitives.What Wes Craven seems to labor too intensively on amidst the rape, torture, and ultra-violence is the supposed necessity to lighten the mood whenever the camera shifts away from the perversion in the woods. Given the seriousness and gravity of what is laid out in front of us, the film becomes less exploitative than it does tacky with the goofy, Three Stooge like behavior of the bumbling law men, played by Marshall Anker and Martin Kove. Mixed between cuts of oral rape, dismemberment, and shootings is a score, with pieces provided by David Hess himself, that detaches us from what has burrowed deep within our core, coming off like a B.J. Thomas mock.While remaining unnecessary with its representation of violence towards women, its poorly timed comedic cuts, and its misguided musical choice, The Last House on the Left has remained as significant as it did when it first hit low budget cinema in 1972. It's ability to stick with you long after the credits have rolled is a true testament to the strength and passion of its creators, playing as a true labor of love rather than a simple shock piece. What Wes Craven and Sean S. Cunningham have provided stands not only as a staple in exploitation cinema, but as a milestone in horror, paving the way for years of gore, screams, and macabre.

Anyone reading this knows how much of an impact Wes Craven had on the world of horror. He was a legend, spawning not one but two genre icons in the form of Freddy Krueger and Ghostface. But many years before he terrified mainstream audiences, he hit it big with a nasty little piece of work known as Last House on the Left. This was Craven's first film, and was a collaboration with Sean S. Cunningham - the man who went on to create the Friday The 13th franchise.Made in a time when cinema was breaking all sorts of boundaries, Last House was originally intended as a hardcore film. During early production, Craven and Cunningham came to believe the project would be able to stand on its own legs without needing the support of adult cinemas, and they toned down its content before they began filming.While they may have toned down the sexual content, they certainly didn't shy away from nasty torturous violence. Many films lose their shock value over time as standards shift and audiences become more jaded. This phenomenon doesn't affect Last House at all. It's still just as grimy and unpleasant as it was back on release. The old adage applies here: they just don't make 'em like they used to.The film as a whole is amateurish, but there are shining moments of real terror here, and that's why it's had such a lasting effect and influence on everything that followed in its footsteps. The grainy film stock and cinéma vérité style lend to the filthy atmosphere in a way that slick, modern digital simply can't replicate. David Hess is excellent as Krug. Chillingly cold and intimidating. His cohorts played by Fred Lincoln and Jeramie Rain are equally unsettling, and their performances are good enough to make us forget they're not actual sadist criminals. But even with all of that praise, it's hard to call it genuinely "good". It wasn't exactly made with noble intentions. It's an exploitation film, and not a fantastically well made one. It has many of the same drawbacks as other low budget movies of the time. The writing isn't particularly good, and there's a completely out of place subplot featuring bumbling cops that could have been transplanted from a goofball comedy. The bizarre folk-ish music (written and performed by David Hess) is odd and distracting, even though it's certainly unique and is part of its time. It just doesn't gel with the film's brutality.It doesn't really feel fair to criticize it on its technical merits. It is what it is, and its modern day audience will appreciate it for that. If nothing else, Last House on The Left can be thanked for introducing the world to both Craven and Cunningham - men who went on to essentially run the slasher genre throughout the 1980s alongside fellow horror alumnus John Carpenter. It's an incredibly important classic, but it's a rough one in every single way.

I don't know how people can say this movie is worse than the remake as most of the violent scenes are off camera, punches clearly don't connect, blood stains on the wall look like cheap paint splattered randomly, and it all looks very fake. What disappointed me the most is a scene where the girls were made to kiss after stripping their clothes off, actually happened off camera. I guess this is because in 1976, two girls kissing on the big screen was considered a bigger taboo than two girls getting raped and murdered. The acting was very wooden as you'd expect from a 1970s horror movie and I wasn't scared one little bit. I thought this was an attempt at a comedy more than a horror actually.