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While a lot of people seem to praise this film as a horror gem, I myself consider it more like a drama… a mildly gruesome drama, but certainly not horror. I can enjoy horror films that don't contain some of the expected traits, like: jumps, creepy music, lots of screaming or tons of gore… but there has to be something to remind us that this is, in fact, a horror movie after all. To be honest though, there is a little bit of gore, that's true… but if the atmosphere isn't reminiscent of a horror film, the gore itself ends up being out of place. I was expecting something good, as I consider Wes Craven to be a very talented horror director, but I guess he simply wasn't in his prime back then. On 'Last House on the Left', the story revolves around a group of criminals, three guys and a trashy girl, who have recently escaped from prison. Two girls on her way to a concert, decide to stop by a house, looking for marijuana. The girls are kidnapped by these ex convicts, who torture them, rape them and eventually murder them in a brutal way. After butchering the two friends, the gang seeks refuge with the parents of one of the victims, who are completely unaware of everything. However, when the man of the house finds out about what happened to his daughter and who were responsible for what happened to her, he teams up with his wife to execute a gruesome revenge against his four guests. The idea of two vindictive parents trying to avenge their dead daughter sounded promising and original for a horror film. It gives hopes for something tragic, dramatic and gruesome, but in the end, "Last House on the Left" ends up being more like a drama full of missed opportunities. One would expect a movie like this to reach its high point in the scene where the parents are finally able to avenge their daughter, but to my disappointment, this confrontation takes place only during the very last minutes of the film and it is shown in a very bland way. I can understand that minimalism works in certain films, and I don't expect all movies to offer some kind of gruesome shock value. The problem is that simplicity is not exactly something that one would expect from a film like this, where a certain amount of gruesomeness is almost mandatory. When the father finds out about what happened to his daughter, he looks completely numb. We never really get to see any signs of devastation, which would have added a well-placed share of drama to the story and would have made the last minutes much more powerful and tragic. My main problem with this film, however, is the fact that there are a few moments of pointless slapstick comedy. I mean, how can this be explained. It's supposed to be a horror film, but instead it is a horrible drama… with a few comedy moments? We see a girl getting stabbed and right after that, we see two dumb cops doing funny things for the audience to laugh. Honestly, I don't get it. I also find the banjo music to be inappropriate, as it works as a some kind comedy relief and it really doesn't make any sense in a movie like this. I am aware that sometimes, joyful music in horror movies is a way to create some kind of strong contrasting atmosphere, but in 'Last House on the Left', it simply sounded out of place. Most people seem to be impressed about the 'appalling gore' and impressive scenes, but I was mostly surprised by the lack of them. True, there are a few scenes that looked pretty brutal, but the gore is not striking enough to save the entire movie. I don't really understand what's the deal with the lame tag line that says 'To avoid fainting, keep repeating "It's only a movie...It's only a movie..."'. I didn't find any parts to be that horrifying, to be honest. Even though I don't focus on the gore very much, I must admit that there are certain horror movies that make up for the weak plot, with a nice amount of carnage... unfortunately, this film is not one of those. I give this movie 5 stars because even though I don't agree with the overhype, I still think it's a watchable drama with a few horror and comedy elements scattered around.
After five (or six) years of vanilla-wedded bliss, ordinary suburbanites John and Jane Smith are stuck in a huge rut. Unbeknownst to each other, they are both coolly lethal, highly-paid assassins working for rival organisations. When they discover they're each other's next target, their secret lives collide in a spicy, explosive mix of wicked comedy, pent-up passion, nonstop action and high-tech weaponry.
Clean-cut Jeffrey Beaumont realizes his hometown is not so normal when he discovers a human ear in a field, the investigation soon catapulting him toward a disturbed nightclub singer and a drug-addicted sadist.
American tourists David and Jack are savaged by an unidentified vicious animal whilst hiking on the Yorkshire Moors. Retiring to the home of a beautiful nurse to recuperate, David soon experiences disturbing changes to his mind and body.
Private eye Jake Gittes lives off of the murky moral climate of sunbaked, pre-World War II Southern California. Hired by a beautiful socialite to investigate her husband's extra-marital affair, Gittes is swept into a maelstrom of double dealings and deadly deceits, uncovering a web of personal and political scandals that come crashing together.
As the president of a trashy TV channel, Max Renn is desperate for new programming to attract viewers. When he happens upon "Videodrome," a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought.
It’s 1974 and Sam Bicke has lost everything. His wife leaves him with his three kids, his boss fires him, his brother turns away from him, and the bank won’t give him any money to start anew. He tries to find someone to blame for his misfortunes and comes up with the President of the United States who he plans to murder.
Friends tell stories of the tormented man living out in the woods as dare each other to go out and see if they can see him. Unfortunately for them—they are successful.
David Sumner, a mild-mannered academic from the United States, marries Amy, an Englishwoman. In order to escape a hectic stateside lifestyle, David and his wife relocate to the small town in rural Cornwall where Amy was raised. There, David is ostracized by the brutish men of the village, including Amy's old flame, Charlie. Eventually the taunts escalate, and two of the locals rape Amy. This sexual assault awakes a shockingly violent side of David.
In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovers an alien buried in the snow for over 100,000 years. Soon unfrozen, the form-changing creature wreaks havoc, creates terror... and becomes one of them.
Paul (Macfadyen), a prize-winning war journalist, returns to his remote New Zealand hometown due to the death of his father, battle-scarred and world-weary. For the discontented sixteen-year-old Celia (Barclay) he opens up a world she has only dreamed of. She actively pursues a friendship with him, fascinated by his cynicism and experience of the world beyond her small-town existence. But many, including the members of both their families (Otto, Moy), frown upon the friendship and when Celia goes missing, Paul becomes the increasingly loathed and persecuted prime suspect in her disappearance. As the violent and urgent truth gradually emerges, Paul is forced to confront the family tragedy and betrayal that he ran from as a youth, and to face the grievous consequences of silence and secrecy that has surrounded his entire adult life.
When Nina and her high school friends receive eerie text messages declaring that they will all die within three days, they dismiss it as a hokey prank - until one by one, the pals start turning up dead in the alpine countryside. With the cops stymied, Nina and her remaining friends must scour their past for clues to identify the madman before he kills them all.