The defence The Arthouse Gremlin
“Its refusal to behave is the point.”
The strange choices create the kind of friction that follows you out of the theatre and into the argument.
Back to trending 
The Last House on the Left
Horror · 1972
On the eve of her 17th birthday, Mari and friend Phyllis set off from her family home to attend a rock concert in the city. Attempting to score some drugs on the way, the pair run afoul of a group of vicious crooks, headed up by the sadistic Krug.
Movie details
The Last House on the Left
“To avoid fainting keep repeating, it's only a movie... Only a movie... Only a movie...”
1972 Horror 1h 24m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.0 / 10
Community rating
On the eve of her 17th birthday, Mari and friend Phyllis set off from her family home to attend a rock concert in the city. Attempting to score some drugs on the way, the pair run afoul of a group of vicious crooks, headed up by the sadistic Krug.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over The Last House on the Left?
For the defence
The Arthouse Gremlin
“The stranger, the better.”
Read their case For the prosecution
The Prestige Tourist
“You like your greatness pre-approved.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Taste neighbourhood
Nearby on the taste map.
TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.
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Where it lives
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Names above the title
The people responsible.
Cast & crew
Directed by
Wes Craven
Written by
Wes Craven
Sandra Peabody
Mari Collingwood (as Sandra Cassell)
Lucy Grantham
Phyllis Stone
David Hess
Krug Stillo (as David A. Hess)
Fred J. Lincoln
Fred 'Weasel' Padowski (as Fred Lincoln)
Jeramie Rain
Sadie
Marc Sheffler
Junior Stillo
Richard Towers
Dr. John Collingwood (as Gaylord St. James)
Court is in session
Put The Last House on the Left on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Prestige Tourist
“Oddness is not depth.”
A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.