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The Last House on the Left

The Last House on the Left

Horror · Crime · 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 · Crime 1h 24m

Critical arithmetic

One number, for now.

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?

The 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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Names above the title

The people responsible.

Directed by

Wes Craven

Written by

Wes Craven

Sandra Peabody

Sandra Peabody

Mari Collingwood (as Sandra Cassell)

Lucy Grantham

Lucy Grantham

Phyllis Stone

David Hess

David Hess

Krug Stillo

Fred J. Lincoln

Fred J. Lincoln

Fred 'Weasel' Padowski

Jeramie Rain

Jeramie Rain

Sadie

Marc Sheffler

Marc Sheffler

Junior Stillo

Richard Towers

Richard Towers

Dr. John Collingwood

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 defence The Cool Ironist

“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.

The prosecution The Sentimental Softie

“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.