That was an excellent one.

Excellent but underrated film

One of the most extraordinary films you will see this year. Take that as you want.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I don't know why this movie is so well liked. It's not scary. Mostly it's people running around in the woods while nothing happens except loud music plays. Not scary music, random annoying music. Very little of the plot makes any sense. The acting is terrible. Don't bother with this one. It's one yawn after another.

Thriller ?! For movie to be a thriller it must have plot, suspense, tension, mystery, something... This movie is linear, predictable, vulgar simple... but Craven was able to do something I never seen before - he made explicit and credible scenes of rape, torture and brutal violence boring, without any tension and without leaving any impression on viewer. Horror ?! The only scary thing in this movie is fact that it is scary stupid. Disgusting - yes, but there's no trace of horror or thriller. Acting and directing irresistibly reminds of low-budget porn. And scenes of nature followed by pleasant, even merrily music definitely don't contribute to tension, but departing this movie from genres it should represent even more.I didn't rate it 1/10 only because it was inspired by Bergman and because I did succeed to watch it till the end without my brain leaking through my ears.

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.

Jesus, this may have been Horror in the 1970's... but we were laughing most of the way through it.Completely two dimensional characters, pathetic actors that were never seen again, and the storyline was full of plot holes and completely implausible.For some reason, while all sorts of mayhem is going on, the police characters are written as comedic? It was also meant to be a horror movie, where in effect, its actually a crime/thriller.Production value wise, it looks like it was made using a $120 voucher from Kennards Hire.Not recommended.