The Last House on the Left. ()1 Std. 49 Min Ein Familienurlaub in idyllischer Umgebung endet in einem Blutbad, bei dem die Opfer zu Tätern. miklosfa.eu - Kaufen Sie Das letzte Haus links / The Last House on the Left - Limited Uncut Futurepak günstig ein. Qualifizierte Bestellungen werden kostenlos. Filmkritik zu The Last House on the Left. Das Remake von Wes Cravens in Deutschland verbotenem Das letzte Haus links zeigt viel Gewalt und.
The Last House On The Left Neue Kritiken
Nur ein paar schöne Tage in ihrem entlegenen Haus am See wollten sich die Collingwoods machen. Doch daraus werden die grauenvollsten Stunden ihres Lebens. Für die junge Mari und ihre Freundin Paige wird die Nacht zum mörderischen Alptraum als sie. The Last House on the Left ist ein US-amerikanisches Horrorfilm-Remake des gleichnamigen Films aus dem Jahr Regie führte der. Das letzte Haus links (Originaltitel: The Last House on the Left) ist ein US-amerikanischer Exploitation-Horrorfilm von Wes Craven aus dem Jahr The Last House on the Left. ()1 Std. 49 Min Ein Familienurlaub in idyllischer Umgebung endet in einem Blutbad, bei dem die Opfer zu Tätern. miklosfa.eu - Kaufen Sie Das letzte Haus links / The Last House on the Left - Limited Uncut Futurepak günstig ein. Qualifizierte Bestellungen werden kostenlos. The Last House on the Left. Bewertungen. Veröffentlicht 14 Mai Universal. Wähle eine Version aus. Der Wunschliste hinzufügen. Beschreibung. Filmkritik zu The Last House on the Left. Das Remake von Wes Cravens in Deutschland verbotenem Das letzte Haus links zeigt viel Gewalt und.
miklosfa.eu - Kaufen Sie Das letzte Haus links / The Last House on the Left - Limited Uncut Futurepak günstig ein. Qualifizierte Bestellungen werden kostenlos. The Last House On The Left Trailer ()Top Schauspieler: Tony Goldwyn, Monica PotterOriginaltitel: The Last House on the LeftKinostart. The Last House on the Left. Bewertungen. Veröffentlicht 14 Mai Universal. Wähle eine Version aus. Der Wunschliste hinzufügen. Beschreibung.
The Last House On The Left - Vorgestellte KanäleNach einem Fluchtversuch nebst Autounfall wird Paige ermordet, Mari wird von Krug vergewaltigt, angeschossen und scheinbar tot, in einem See treibend zurückgelassen. Die schwer verletzte Mari hat es geschafft, sich vom Ufer des nahe gelegenen Sees zum Ferienhaus zu schleppen. FSK Blut tropft auf das Bild, und schon hat sich eine Figur für den Rest des Films alle Sympathien verspielt. Tausende von Frauen werden täglich vergewaltigt, wer kann sagen, dass es ihm gefällt den Schreien einer Frau zuzuhören der genau das passiert? Typischer Thriller, nichts neues. Auch scheinen sich die Strafverfolgungsbehörden heute weniger Sorgen als früher um die Verrohung der Jugend durch Filme zu machen und nehmen stattdessen Computerspiele und das Internet ins Visier. John Murphy. Victor Hurwitz. Dark Fantasy Filme S.
The Last House On The Left Navigation menu VideoThe Last House On The Beach (La Settima Donna) (1978) - Ray Lovelock
Her parents, Estelle and John, express their concern about her friendship with Phyllis, but let her go and give her a peace symbol necklace.
Phyllis and Mari head into the city and on the way, they hear a news report of a recent prison escape involving criminals Krug Stillo, a sadistic rapist and serial killer; his heroin -addicted son, Junior; Sadie, a promiscuous psychopath and sadist; and Fred "Weasel" Podowski, a child molester, peeping Tom, and murderer.
Before the concert, Mari and Phyllis encounter Junior when trying to buy marijuana. He leads them to an apartment where they are trapped by the criminals.
Phyllis tries to escape and reason with them, but she fails and is gang-raped. Meanwhile, Mari's unsuspecting parents prepare a surprise party for her.
The next morning, Mari and Phyllis are bound, gagged and put in the trunk of Krug's car and transported to the woods. Mari recognizes that the road is near her home.
Mari and Phyllis are forced to perform sexual acts on each other. Phyllis distracts the kidnappers to give Mari an opportunity to escape but is chased by Sadie and Weasel, while Junior stays behind to guard Mari.
Mari tries gaining Junior's trust by giving him her necklace and calling him "Willow". Phyllis stumbles across a cemetery where she is cornered and stabbed by Weasel.
She crawls to a nearby tree and is stabbed multiple more times, dying in the process. Mari convinces Junior to let her go, but her escape is halted by Krug.
Krug carves his name into her chest, then rapes her. Krug drools on Mari while he is raping her. She vomits, quietly says a prayer and walks into a nearby lake, where Krug fatally shoots her.
After they change out of their bloody clothes, the gang goes to the Collingwoods' home, masquerading as travelling salesmen.
Mari's parents let them stay overnight. The gang finds photos of Mari and realize it is her home. Later, when Junior is in the midst of a heroin withdrawal , Estelle enters the bathroom to check on him and sees Mari's peace symbol necklace around his neck.
She finds blood-soaked clothing in their luggage and overhears them talking about Mari's death, and of her disposal in a nearby lake.
She and her husband rush into the woods where they find Mari's body. They exact revenge. Estelle seduces Weasel, bites off his penis, and then leaves him to bleed to death.
John takes his shotgun and shoots at Krug and Sadie. Krug escapes into the living room and overpowers John, before manipulating Junior into committing suicide.
John fetches a chainsaw and Krug attempts to flee but is incapacitated by an electrocution booby-trap. Sadie rushes outside and falls into the backyard swimming pool where Estelle slits her throat.
The sheriff arrives just as John kills Krug with the chainsaw. Sean S. Cunningham made his directorial debut with the white coater film The Art of Marriage.
Cunningham served as producer and Craven served as writer and director on the project. This script, written under the title Night of Vengeance , has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century a documentary on the making of the film.
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
Cunningham and Craven originally wanted her to read for the role of Phyllis, however, after meeting her they decided to cast her in the lead role of Mari.
The film was shot on location for seven days in New York City , as well as Long Island , followed by shoots in rural locations outside of Westport, Connecticut.
Cunningham later described the film shoot as being " guerrilla-style " with the crew spontaneously filming at locations and being forced to leave due to lack of permits;  in retrospect, Lincoln said that "nobody knew what [they] were doing.
Hess recalled that much of the cast bonded heavily during the filming process being that they were mostly inexperienced actors. However, both Hess and director Craven recalled the on-set relationship between Hess and Peabody to be turbulent.
Peabody stated that she was genuinely upset during the filming of the more violent scenes as she felt unprepared: "I was upset because I'm an emotional person, and I reacted to what was going on as if it were real.
I had a really hard time with some of scenes, because I had come out of American Playhouse , where it was all about preparation, and everything had to be real.
I ended up doing a horrible job in the film. I was very upset, and I felt like I should have channeled that, but I couldn't I was a young actress and I was still learning to balance any emotions I had from outside of the film into my scene work.
This was the guy with the dark curly hair [David Hess] - he tried to play his role on and off the set. It was like, 'Lock your doors and windows at night, you don't want him to come get you!
The film's soundtrack was written by Stephen Chapin and David Hess who also played the main antagonist, Krug.
Chapin wrote all the incidental music for the movie; he also did all the arrangements and orchestration as well as all the contracting and producing musicians.
The music is particularly notable for being heavily contrasted with the events on screen. For example, as the gang drives the two girls out into the countryside, the upbeat, almost comical tune "Baddies Theme" plays and, after the rape scene, a soothing ballad plays.
This counterpointing was also used elsewhere in the film, with the slapstick antics of the two police officers occurring in between scenes of torture.
In the soundtrack was released for the first time on compact disc by Hess on Rock Bottom Rules Records. In the soundtrack had a re-release on vinyl, compact disc, cassette and digital download on One Way Static Records.
It was also re-issued on a limited hand numbered picture disc for Record Store Day The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century.
Due to its graphic content, the film sparked protests from the public throughout the fall of who called for its removal from local theaters.
After carefully considering all the circumstances, management has decided to continue to show the movie.
This difficult decision was predicated on the following considerations: The film relates to a problem that practically every teen-age girl and parent can identify with, yet does not pander to the subject matter.
The story does not glorify violence, nor does it glorify the degenerates who perpetrate the violence Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' Under the Last House Anecdotes as to where the advertising campaign originated vary somewhat.
Cunningham claims that marketing specialist who devised the Last House Newspaper advertisements featured lengthy statements issued by the film's producers defending it against claims that it sensationalized violence,  one of which noted: "You will hate the people who perpetrate these outrages—and you should!
But if a movie—and it is only a movie—can arouse you to such extreme emotion then the film director has succeeded The movie makes a plea for an end to all the senseless violence and inhuman cruelty that has become so much a part of the times in which we live.
Critical response to The Last House on the Left upon its original release was largely centered on its depictions of violence.
I felt a professional obligation to stick around to see if there was any socially redeeming value in the remainder of the movie and found none.
They had started in on the other with a slow switch blade. The party who wrote this sickening tripe and also directed the inept actors is Wes Craven.
It's at the Penthouse Theater, for anyone interested in paying to see repulsive people and human agony.
Edward Blank of the Pittsburgh Press called the film a "cheap-jack movie of no discernible merit" and "riddled with awkward, self-conscious performances.
Cunningham has somehow managed to make what is possibly 's most worthless general release film and, with a sensational and overblown advertising campaign, parlay it into a major moneymaker.
In doing so, he may be in line for the Cy Dung Award for the movie most offensive to the intelligence of an audience. But if your cup of tea is assault, murder, maiming, revenge, and violence, the movie is going to be perfect.
Its consensus reads, "Its visceral brutality is more repulsive than engrossing, but The Last House on the Left nevertheless introduces director Wes Craven as a distinctive voice in horror.
Author and film critic Leonard Maltin awarded the film one-and-a-half out of a possible four stars. Maltin called the film "cheap", and "[a] repellent but admittedly powerful and for better or worse influential horror shocker.
Though the film passed with an R-rating by the Motion Picture Association of America , director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
Last House on the Left was refused a certificate for cinema release by the British Board of Film Censors in ,  due to scenes of sadism and violence.
During the early s home video boom, the film was released uncut save for an incidental, gore-free scene with the comic relief cops, and the end credit roll as a video that did not fall under the BBFC's remit at the time.
This changed when the " video nasty " scare which started in led to the Video Recordings Act The movie landed on the Department of Public Prosecutions list of "video nasties", and was banned.
The film remained banned throughout the remainder of the s and into the s. However, it had developed an underground cult reputation in the UK, and critics such as Mark Kermode began to laud the film as an important piece of work.
In , the film was again presented to the BBFC for theatrical certification and it was again refused. The BBFC had required 16 seconds of cuts to scenes of sexual violence before it would grant the video an "18" certificate.
However, after his report, the committee not only upheld the cuts, but demanded additional ones. The cut scenes were viewable as a slideshow extra on the disc, and there was a link to a website where the cut scenes could be viewed.
Contrary to popular belief, the film was never banned in Australia on its initial release — rather, it was never picked up for distribution in the country due to the censorship issues that it would have created at the time.
The film was submitted to the censorship board in for VHS release by Video Excellence under the alternative title Krug and Company , but it was rejected because of its violent and sexual content.
It had a theatrical screening that same month at the Australian Centre for the Moving Image in Melbourne. Many different versions of the film exist on various DVD and VHS releases struck from different cuts of the film, many of them from different countries.
To get a completely uncut version is difficult as even some cinema machinists cut footage from prints of the movie before screening it during the s; many copies were cut or "hacked to pieces" and because of this some scenes have become rarities.
In the Krug and Company cut, Mari is still alive when her parents find her. She tells her parents what happened to her and Phyllis before dying in front of them.
The Last House on the Left has been released multiple times on home media in the United States; MGM Home Entertainment released a DVD version on August 27, , which featured outtakes, a making-of documentary, and "Forbidden Footage," a featurette exploring the film's most violent shocking sequences.
A limited edition Blu-ray box set was released in the United States and United Kingdom on July 3, from Arrow Video , which features three different cuts of the film each restored in 2K from the original film elements, a double-sided poster, lobby card reproductions, a book featuring writings on the film, a CD soundtrack, various archival bonus materials, and new interviews with cast, crew, and associates of Craven.
In the s, Vestron Pictures hired Danny Steinmann to write and direct a sequel, though the film fell apart in pre-production due to rights issues.
The company intended to preserve the storyline of the original film. Craven described his involvement with the remake: "I'm far enough removed from these films that the remakes are a little like having grandchildren.
The story, about the painful side effects of revenge, is an evergreen. The headlines are full of people and nations taking revenge and getting caught up in endless cycles of violence.
Production was slated for early In May , Rogue entered negotiations with director Dennis Iliadis to direct the film. From Wikipedia, the free encyclopedia.
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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Two teenage girls heading to a rock concert for one's birthday try to score marijuana in the city, where they are kidnapped and brutalized by a gang of psychotic convicts.
Director: Wes Craven. Writer: Wes Craven. Available on Amazon. Added to Watchlist. From metacritic. November's Top Streaming Picks.
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Edit Cast Complete credited cast: Sandra Peabody Phyllis Stone David Hess Krug Stillo as David A. Hess Fred J. Sadie Marc Sheffler Junior Stillo Richard Towers John Collingwood as Gaylord St.
James Cynthia Carr Estelle Collingwood Ada Washington Ada Marshall Anker Sheriff Martin Kove Deputy Ray Edwards Edit Storyline On the eve of her seventeenth birthday, Mari Collingwood tells her parents that she is going to the concert of underground band Bloodlust in New York with her friend Phyllis Stone.
Taglines: It's just across the street from "Joe". Edit Did You Know? Trivia Due to his size Martin Kove was originally up for the role of Krug.
However he declined it in favor of the smaller comedic Deputy role, and suggested his friend David Hess for the role instead.
Hess wore extra padded clothes for the audition but was given the role anyway, as well as being offered the music score.
The Last House On The Left VideoThe Last House On The Beach (La Settima Donna) (1978) - Ray Lovelock She also noted that the parents seemed to find enjoyment in exacting their revenge, even when their daughter lay dying in the next room. Dillahunt took inspiration from Andrew Cunananthe man who killed Gianni Versacewhen he recalled the brutality in which Cunanan murdered a man just for his car. Newspaper advertisements featured lengthy statements issued by the film's producers defending it against claims that it sensationalized violence,  one of which noted: "You will hate the Tensei who perpetrate these outrages—and you should! Hidden categories: Articles with short description Short description is different Nackte Schwester Wikidata Use American English from November All Wikipedia articles written in American English Use mdy dates from November Template film date with 1 release date Articles containing potentially dated statements from June All articles containing potentially Wayne Brady statements. In terms of Krug - these are evil human beings. Rate This. Retrieved March 8, After kidnapping and torturing two innocent teen girls, a group of people seek refuge in the home of the Filpalast To of one of the victimized girls. Francis Sara The Bride Film The cut scenes were viewable as a slideshow extra on the disc, and there was a link to a website where the cut scenes could be viewed. He also stated that he likes the fact that John Collingwood is a doctor who actually gets to use his skills in the film, unlike in the original where the character Pokemon Go Server Fehler merely identified as being a Julia Garner. Retrieved March 12, Ice Road Truckers Retrieved December 24, Deputy Ray Edwards She also noted that the parents seemed to find Richard Coyle in exacting their revenge, even when their daughter lay dying in the next room. Rotten Tomatoes. During the rape Krug pulls off Mari's necklace and throws it away. Retrieved August Spartacus Serie Deutsch, Justin is the only one to deduce that the inhabitants, John and Emma, are Lancastersyndrom parents, and intentionally leaves Mari's necklace on the counter to alert them about their daughter. Auch scheinen sich die Strafverfolgungsbehörden heute weniger Sorgen als früher um die Verrohung der Jugend durch Filme zu machen und nehmen stattdessen Computerspiele und das Internet ins Visier. Denis Iliades. Ich habe mir den Trailer beider Filme angeschaut. John Murphy. Die verstörende Gewalt in diesen Filmen zeugt von der Herkunft des Sub-Genres aus dem Exploitationkino, eröffnete aber zugleich die Dagi Bee Song, die reale Gewalt, reale Vergewaltigungen explizit zu thematisieren. Geht ihr einfach so in unbekannte Filme? Zugleich James Bond 2019 Kinostart genau hierin auch ein Grund für die Aufregung, die solche Gewaltdarstellungen damals hervorrufen mussten. Sorry, dass ist der absolut schlechteste Wes Craven Film, wenn darin Mädchen vergewaltigt werden. Also bildet euch eure eigene Meinung und hört nicht immer darauf was andere sagen. Saw wird schnell klar, dass diese "Brutalität" die in The Last House ausgedrückt wird, viel mehr Sinn und Bedeutung hat als die Abschlachtung und wahre Zerstückelung der Menschen. Dieser Film ist völlig krank!!! Kritiken über den Film sind normal; bei "Das Haus der Dämonen" wurde auch jede Gosling Ryan Kritik geübt, obwohl ich den Film interessant fand und auch nicht alles von Anfang an verriet. Trotz der Sorge um ihre Tochter bieten sie den Mördern, die sich als Vertreter tarnen, eine Unterkunft für die Nacht an. Ich würde den Film nicht als Horrorfilm bezeichnen, sondern als Gewalt - Film. Im Wald werden die zwei Freundinnen nochmals gedemütigt und Mari vergewaltigt. The Last House On The Left Trailer ()Top Schauspieler: Tony Goldwyn, Monica PotterOriginaltitel: The Last House on the LeftKinostart.
User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. After kidnapping and brutally assaulting two young women, a gang unknowingly finds refuge at a vacation home belonging to the parents of one of the victims: a mother and father who devise an increasingly gruesome series of revenge tactics.
Director: Dennis Iliadis. Available on Amazon. Added to Watchlist. From metacritic. November's Top Streaming Picks.
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Edit Cast Complete credited cast: Garret Dillahunt Krug Michael Bowen Morton Josh Coxx Giles as Josh Cox Riki Lindhome Sadie Aaron Paul Francis Sara Paxton Mari Monica Potter Emma Tony Goldwyn John Martha MacIsaac Paige Spencer Treat Clark Justin Usha Khan Edit Storyline After kidnapping and torturing two innocent teen girls, a group of people seek refuge in the home of the parents of one of the victimized girls.
Taglines: If bad people hurt someone you love, how far would you go to hurt them back? Edit Did You Know? Trivia According to Gorezone Magazine, the film was intended for a direct-to-video release in October of , however, after positive test screenings in the fall of , it was decided to release the film theatrically.
Goofs Although red wine is not supposed to be kept in the refrigerator, many people do prefer their red wine cold and will store it there.
Quotes [ first lines ] Morton : [ telling joke to Giles ] So the next week, he's even hornier. And this time, he's got twenty bucks instead of ten.
He goes back to the whorehouse, he slaps down the twenty, and tells the madam he needs to get off, but he ain't going to screw no goddamn chicken this time.
She says it still ain't much, but she can help. She tells him to go to the room at the top of the stairs. This time there's just a bunch of guys jerking off, but one of the jerk off guys assures him "oh hey, it's Connections Referenced in Christmas Cruelty!
As John walks away, Krug's head explodes, ultimately killing him. The company intended to preserve the storyline of the original film.
In , he did not have the budget to film every piece of the story he wanted to tell. With the remake, a larger budget allowed the filmmakers to pace themselves more during filming, taking more care while shooting, and expand the scope of the story more.
One of the ways to accomplish this was for the producers to find a "rising young director to bring a new perspective for the story". According to the producers, who were impressed with Hardcore —which explored the world of teenage prostitution—director Dennis Iliadis was the person they were looking for.
Co-producer Cody Zwieg stated, " Hardcore wasn't a genre or a horror film but showed completely believable characters in horrific, realistic situations.
Many directors could handle the surface elements, the blood and shock moments of Last House , but Dennis proved that he could do it all without exploiting his characters and their situations.
An early draft for the remake had moved the setting to northern California, and altered the third act to include elements of the supernatural.
When that script was rejected, Carl Ellsworth was brought in to touch up the script written by Adam Alleca.
Ellsworth had previously worked with Craven on Red Eye , but had never seen the original film. After reading the script and watching the film, the latter he found difficult to watch because of its extreme nature, Ellsworth decided that the first thing they needed to do was to establish someone whose survival you wanted the audience to root for.
The writer wanted to know how the "typical family" would react to such a heinous act being perpetrated on their daughter, and what they were truly capable of.
They were never sure how much of the Krug family needed to be seen, what elements from the original film should be included, or even if Mari should live or die.
One of the changes that Ellsworth made was keeping Mari alive, as the character is found dead in the original film.
The writer believes keeping Mari alive when her parents find her adds to the suspense, because there is now a "ticking clock" for the parents to get their daughter to the hospital.
Director Iliadis wanted to give Mari a "big character trait" that could be used as a coping mechanism for the character, as well as become an important component to her escaping Krug.
As Iliadis explains, "Well the idea was to find something where she channels all her energy and that was a big character trait because her brother is dead.
It's like she's carrying him on her back. She needs to perform for two people now. She has to compensate for him so all her energy is in the water.
The only area where she feels slightly free is when she's in the water swimming like crazy, so it's interesting having that as a character trait, and then having that as a key element for her trying to escape.
The writer changed the fate of another character, Krug's son Justin attempting to give the audience a better "sense of hope". He also stated that he likes the fact that John Collingwood is a doctor who actually gets to use his skills in the film, unlike in the original where the character is merely identified as being a doctor.
Craven comments, "[it is] an extraordinary moment" when John is forced to improvise a way to restore a collapsed lung; "It made it real.
He asserts that the film does not have a happy ending, but that there is some hope left at the end. Initially the director feared that they were "wussing out" with the ending; he eventually decided that what you really see is a family that has physically survived this encounter, but are "dead in many ways".
Iliadis expressed that he did not want to go the way of " torture porn ", which is what he sees most horror films moving toward, but instead show a sense of "urgency" with the parents' actions.
When casting for the film, Iliadis wanted to find actors who would not portray these characters in a stereotypical way.
As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality.
Craven states, "You need an actor who can bring a complete sense of commitment to that character without making it silly and not be afraid to go in there to the point where someone might say, 'Oh, you got bad in you?
Iliadis notes that when Sara Paxton came in her audition was "good", but it was this sense of intelligence and intensity that Paxton brought with her.
The actress also had the "innocent face" the director was looking for, someone who had this "wholesomely American look" that would not allow anyone to enjoy watching her go through these intense events.
Iliadis auditioned dozens of actors before he hired Garret Dillahunt for the role of Krug, the leader of the family that kidnaps Mari.
According to Iliadis, the actors coming in kept trying to portray Krug as the "typical bad guy", and that was not what the director wanted.
In Iliadis's opinion, "the most sadistic criminal will smile"; when Dillahunt came in he brought a slyness to the character, and created "ambiguity and subtleties" to the character that Iliadis liked.
Dillahunt attempted to humanize Krug by approaching the character more as a man who feels some love for his son, but is bitter about how his life has turned out and is fearful that he is losing his position as the leader.
He further clarifies that Krug fails to take responsibility for his own actions, instead blaming others, and prefers to deliver his own "twisted justice" to those he feels have wronged him.
Dillahunt took inspiration from Andrew Cunanan , the man who killed Gianni Versace , when he recalled the brutality in which Cunanan murdered a man just for his car.
Dillahunt recalls how an FBI profiler noted that this type of rage is typically directed toward someone the perpetrator knows, yet Cunanan managed to pull some element from his own life and place it on this random person who attempted to stand his ground against the would-be carjacker.
To Dillahunt, that was how he wanted to approach Krug. To him, Mari actually shows that she is not afraid of Krug, which causes him to go "crazy".
That being said, the actor felt like the scene where his character rapes Mari was one of the hardest things emotionally to film. On the other hand, he felt uncomfortable acting out such a scene with a person he considered to be a friend.
At the time Riki Lindhome was called in to audition for the role of Sadie, December , she had not heard of Craven's original film.
On the day of her audition, Lindhome was informed that she had missed her scheduled appointment and that she would need to return come January.
Lindhome took the time to watch the original movie and read an article in Vanity Fair about the film, giving her some familiarity with the story and her role when she went to audition.
Lindhome says she finds her character "creepy for no apparent reason", because the film does not attempt to justify why the three antagonists do what they do.
The actress characterizes Sadie as being "equally as bad as [the men]", being just as vicious as the others. Lindhome admits that early in production it was easier for her to detach herself from the violent character she was portraying, but as filming continued and the cast grew closer she says that it became more difficult and "upsetting" to perform some of the scenes.
According to Lindhome, as a response to seeing how some of the scenes were affecting the women, the producers sent Paxton, Lindhome, and Martha MacIsaac to a spa for a weekend.
Before filming started, some of the actors had to undergo various training exercises for their roles. Dillahunt, Lindhome, and Aaron Paul —the latter portrays Francis—had to take part in gun training, while Sara Paxton had to get up each morning for swimming lessons so that she looked like an experienced swimmer.
It was Iliadis's hope that space to rehearse their roles, and then time during filming to develop their characters individually, would help them to trust Iliadis as the director more.
Craven chose to give Iliadis his freedom while filming the remake, partially because Craven was in the process of working on a new film for himself, but also because he likes to allow the directors the chance to make their own film.
Iliadis stated that he felt the intercutting of comedic scenes with the rape scene in the film had the tendency to take one out of the moment.
Iliadis wanted to "cut those diversions out", as a way of "[throwing the audience] into this scene with no place to cut away to".
For Iliadis, taking this approach helped to create more drama for the event. Lindhome states that the technician would explain how someone would react given a particular event, like getting shot or stabbed.
As the director points out, Hardcore contained "very difficult scenes", like a sixteen-year-old girl having an "existential breakdown during an orgy", and Iliadis sees those scenes as training for him to learn how to make sure the actors are still being respected, as well as making sure that the scene is focused on the characters instead of simply going for "titillation".
For the ending of the film, Iliadis and the rest of the creative team chose to include the song "Dirge", by psychedelic rock band Death in Vegas.
Iliadis was hoping to find something that was both "ironic" and "innocent" at the same time, given the events in the film that would precede its usage.
To the director, the choice helped to illuminate the fact that nothing will be the same for this family again.
Craven explains, "I also found it interesting that the Dr. So I also found it intriguing that we're just seeing these wonderful, perfect people but the father comes back and goes out of his way to do this.
The biggest setback by the board involved the rape scene. In the original cut of the film, the scene was at least one minute longer, but the board forced the scene to be trimmed if the filmmakers wanted an R-rating.
There were other minor aspects trimmed as well, like an extended stabbing sequence with Paige. What shocked Craven was when the MPAA told them that this was a "special" film that did not "need" the extension on those scenes.
Craven believed that the MPAA viewed the film more as an artistic horror film, which he sees as both a blessing and a curse. In Craven's experience, once the MPAA becomes focused on certain elements they dislike in horror films that they otherwise like, they become determined to see it removed before release.
The site's critics' consensus reads: "Excessive and gory, this remake lacks the intellectual punch of the original. The San Francisco Chronicle ' s Peter Hartlaub felt the remake departed from the traditional template used by more recent remakes—"include twice as many kills, [find] boring young actors from TV shows, rewrite the script so you lose everything interesting about the original, [and] make up an excuse to add cell phones"—which ultimately made it far more effective.
Hartlaub cited the script, which he felt devoted as much time to character development as "carnage", and the "good acting", particularly Tony Goldwyn, as reasons why this remake succeeds.
Smith also commended Dillahunt's acting, as well as Iliadis's "casual, matter-of-fact approach that multiplies the horror to an almost unbearable level".
Puig felt that the killing scenes were too drawn out, noting the technique was down to heighten the effect, but actually comes across more as "repugnant and fetishized violence".
She also noted that the parents seemed to find enjoyment in exacting their revenge, even when their daughter lay dying in the next room.
Neumaier suggests that the film's violence fails to create the sense of "theatricality of the Saw or Hostel films", or even provide audiences with "the unkillable-monster nostalgia of [the] Friday the 13th re-do".
Neumaier also states that the film lacks the reasoning to exist that Craven's original had, which was to push the "boundaries of cinema's new permissiveness".
When comparing the film to its counterpart, Newsday ' s Rafer Guzman stated that Iliadis's film contains better "production values" than the original, but overall it keeps the "marrow of the story".
Guzman suggests that some of the violence may have ventured too close to hysteria, and that this film is not like The Virgin Spring —which Guzman reminds that Roger Ebert "famously compared the original to"—but overall the film is "horribly, shamefully satisfying".
Phillips noted that the film was well written—apart from a couple of moments that felt like they belonged in a different movie—well acted, and contains characters that seem like "real people [with] plausible behavior, amid plausible tension, borne of a terrible situation".
He also suggests that, contrary to other critic opinion, the remake does not attempt to follow the current trend of Hostel or Saw -like films simply because audiences are gravitating toward them as of late.
Olsen points to what he feels is the addition of unnecessary back story for the family, and Iliadis's choice to film the rape scene in a "verdant, scenic forest", which gave the sequence an "art-directed falseness, draining the audience-implicating authenticity and replacing it with the easy distance of knowing entertainment".
Dennis Harvey of Variety believed that the film lacked in comparison to the original in almost every aspect. Harvey felt like the film spent more time trying to please current horror conventions than create an effective update to Craven's film.
Harvey criticized the choice of changing a "credibly ordinary family" into "typical modern movie-fantasy clan". He also noted that Dillahunt's portrayal of Krug is no match for David Hess.
Craven was responding to the graphic images being sent back during the Vietnam War and allowed his film "sociological context", while Iliadis's film comes across as "exploitative".
Although Rechtshaffen points out that the parents lack the training and skill of Liam Neeson 's character in Taken , the performances from all of the actors are "uniformly sturdy".
Lisa Kennedy of The Denver Post suggested that some viewers may want to leave the theater before finishing the movie, as Paige and Mari's fight to survive is "so disturbing" and "earnest", the murders and rapes so " verite " that it forced the reviewer to "fear for women in the audience who have been victims of rape".
Yet, Kennedy believes the film manages to create a deeper message by identifying the "truly horrific" nature of what occurs by following the events with "a deep pause".
Comparing this remake to the multiple Michael Bay slasher remakes, Kennedy states that this film "is not an idea-free flick", and that it "[engages] what the word 'horror' means".
At the same time, he praised the performances of Goldwyn, Potter, Paxton, and Dillahunt. He noted that the audience actually fears for the parents, and that Dillahunt is convincing as the "evil leader of a pack of degenerates".