While I'm generally not in favor of them for the obvious reasons, cover songs have been around for decades and will likely continue to do so for the foreseeable future. They're the ones where bands -- often trying to get their big break in the biz -- pay for the rights to cut a new version of a popular hit.
Considering that studios and directors now seem completely entrenched in the habit of doing the same with films, perhaps we should start referring to such releases as "cover movies." The latest golden oldie to be polished off for new audiences is none other than Wes Craven's horror flick "The Last House on the Left."
Notorious back in the early 1970s for its brutality and subject matter (parents getting revenge on the sadistic thugs who raped and murdered their daughter), it was shocking in its day and made a name for Craven (who later went on to helm the likes the "A Nightmare on Elm Street" and the "Scream" films).
Depending on whom you want to believe, the pic was either based on a true story or Ingmar Bergman's 1959 drama "The Virgin Spring," but it really wasn't more than an effective exploitation flick designed to disturb viewers enough with its repugnant material that they'd cheer on the grisly retribution awaiting the bad guys.
Considering about a gazillion similar horror films have been released during the intervening years, director Dennis Iliadis (like a new band, trying to make a name for himself in mainstream moviemaking) and screenwriters Adam Alleca and Carl Ellsworth have their work cut out for them. That is, at least in terms of doing something novel with the existing material. After all, and unlike in the music biz where genres can easily be crossed (adapting a country song to rock, etc.), the same usually doesn't apply to movies.
Thus, rather than appear as a musical or a romantic comedy, the updated story remains steadfast in the genre-specific land of its origins. While various elements have been nixed (most notably the bumbling cops designed as intended comic relief), and the specific atrocities altered in one way or another, it's essentially the same film with the same motive.
All of which means it's an ugly and unpleasant experience, even more so than the "Saw" and "Hostel" movies (that went so far over the top they lost any semblance of believability), and might not even play to those who enjoy the structurally similar Freddy, Jason and other such bogeyman slasher flicks.
While those are also grisly and reprehensible, they (for the most part) usually exist as amusement park type horror attractions, tongue (not to mention knives, pickaxes and more) firmly planted in cheek. The closest immediate comparison for this film would be the similarly unpleasant and brutal but little seen "Funny Games" from last year, although that one was far bleaker in outlook for viewers.
For what it's worth, the performances are generally good (aside from Monica Potter who never once convinced me of her horror and pain), and Iliadis occasionally shows some creative flair with his camera use and some scene transitions (the best occurring at the beginning where the opening violence segues to the peaceful underwater views of one of our unlucky victims-to-be).
That said, and beyond those who get their jollies watching snuff films, I really don't see who this will appeal to (the no holds barred rape scene will likely turn off even those who enjoy the bloodletting and killings of the "Halloween" and "Nightmare on Elm Street" series). Sure, there's the eventual vicarious cathartic release of watching the bad guys (and one woman) get their comeuppance in ways designed to match what they doled out.
And it's somewhat refreshing -- at least until the end when the strategy is pretty much thrown out the window -- to see the vigilantes not go all superhero on the perps. The fighting is awkward and not always effective, and thus feels a bit more realistic than the likes of the recent parental retribution flick "Taken" (although that one's clearly more entertaining on a pure popcorn level).
Even so, Iliadis and company eventually fall into the usual genre trappings, including lifting a particularly memorable scene from, of all movies, "Gremlins," thus lessening the "realistic" impact of what preceded it. Decently made up to that point, but completely unnecessary and about as unpleasant as they come, "The Last House on the Left" hopefully won't have enough visitors to warrant yet another trip there. The film rates as a 4 out of 10.
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