Two popular subgenres converge. Film critic Steve Hutchison covers 50 excellent monster invasion films and ranks them mathematically. A synopsis, five ratings, and a review are provided for each film. How many have you seen?
It pulls no punches!
What starts as a simple enough drama with an obvious commentary on women liberation and the love generation is soon thrown turned into chaos: a torture and rape story; a hippy's worst nightmare. Sometimes crudely honest in regards to taboos and via its raw delivery, it has one goal and that's to show you things you know exist and don't want to think about. It wants to shock you, make you angry...
The rape subplot is lengthy, elaborate, but, bear with them, things probably won't turn out exactly as you'd expect them to. The film follows the tropes of the mixed subgenres it exploits. It builds a sense of vulnerability, bursts of frustration and then redeems itself in a surprising finale, asking for emotional forgiveness for what it made you sit through.
The cinematography is nothing out of the ordinary. It has more in common with grindhouse cinema than art house. It isn't exactly stylish. When it tries to be, it generally makes bad judgment calls, namely in regards to the score and the editing. It becomes comedic where there isn't exactly room for humor. The Last House on the Left deliberately mocks your disgust and your sense of moral.