where was the last house on the left 2009 filmed
The Last House on the Left (2009 film)
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 . Kyle Smith , of the New York Post , agreed that the film succeeded where other remakes had failed . For Smith , it was the replacement of the `` quick - cutting , loud noises and camera tricks '' clichés with `` long takes , genuinely disturbing violence and stretches with no dialogue to pin you to the story '' , which made this film more effective . 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 '' . In contrast , USA Today 's Claudia Puig stated that director Dennis Iliadis failed at trying to keep the film from becoming another `` torture porn '' . 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 . Joe Neumaier of the New York Daily News was in agreement with Puig when he referred to the film as `` stomach - churningly anti-human '' because of its violence , and questioned why Goldwyn and Potter even signed on to the film . 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 2009 film lacks the reasoning to exist that Craven 's 1972 original had , which was to push the `` boundaries of cinema 's new permissiveness '' .
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 . Kyle Smith , of the New York Post , agreed that the film succeeded where other remakes had failed . For Smith , it was the replacement of the `` quick - cutting , loud noises and camera tricks '' clichés with `` long takes , genuinely disturbing violence and stretches with no dialogue to pin you to the story '' , which made this film more effective . 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 '' . In contrast , USA Today 's Claudia Puig stated that director Dennis Iliadis failed at trying to keep the film from becoming another `` torture porn '' . 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 . Joe Neumaier of the New York Daily News was in agreement with Puig when he referred to the film as `` stomach - churningly anti-human '' because of its violence , and questioned why Goldwyn and Potter even signed on to the film . 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 2009 film lacks the reasoning to exist that Craven 's 1972 original had , which was to push the `` boundaries of cinema 's new permissiveness '' .