The Last House On The Left 2009 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Emma and John Collingwood, and their daughter, competitive swimmer Mari, head out on vacation to their lake house. Shortly thereafter, Mari borrows the family car and drives into town to spend some time with her friend Paige. While Paige works the cash register at a local store, she and Mari meet Justin, a teenager passing through town who invites them both back to his roadside motel room to smoke marijuana. While the three are hanging out in the motel room, Justin's family members return: Krug, Justin's father; Francis, Justin's uncle; and Sadie, Krug's girlfriend.

Krug shows Justin a local newspaper that has Krug and Sadie's pictures on the front page, and which explains how Sadie and Francis broke Krug out of police custody and killed the two officers that were transporting him. Believing it would be too risky to let Paige and Mari go, the gang kidnaps them and uses their car to leave town. While Krug searches for the highway, Mari convinces him to take a road that leads to her parents' lake house; Mari then attempts to jump out of the vehicle, but the ensuing fight among the passengers causes Krug to crash into a tree. Frustrated by Mari's attempt to escape, Sadie and Francis proceed to beat Mari and Paige as they crawl from the wreckage. Krug attempts to teach Justin to "be a man" by forcing him to touch Mari's breasts. Paige begins insulting him to get him to stop; in response, Krug and Francis stab Paige repeatedly, and Mari watches her friend bleed to death. Krug then rapes Mari. When he is done, Mari musters enough strength to escape the group and make it to the lake so that she can swim to safety. Krug shoots her in the back as she swims, leaving her body floating in the lake.

A storm forces Krug, Francis, Sadie, and Justin to seek refuge at a nearby house. Justin is the only one to deduce that the inhabitants, John and Emma, are Mari's parents, and intentionally leaves Mari's necklace on the counter to alert them about their daughter. When John and Emma find Mari barely alive on their porch, and the necklace on the counter, they realize that Mari’s tormentors are the people in their house.

As they try to find the key to their boat so that they can take Mari to the hospital, they decide to get revenge on those responsible. When Francis happens upon Mari, he is attacked and killed by John and Emma. When the couple go after Krug and Sadie, they find Justin in possession of Krug's gun; Justin gives the gun to John so that he can kill Krug. Sadie awakens and interrupts John, allowing Krug to escape from the couple: he then realizes that they are Mari's parents. After Emma shoots Sadie in the head, John chases Krug. With a combined effort from Emma, John, and Justin, Krug is knocked unconscious. John paralyzes Krug from the neck down and leaves him to die with his head in an active microwave oven (his head explodes). He, along with Emma, Mari, and Justin then leave in the boat, heading for the hospital.

In August 2006, Rogue Pictures finalized a deal to remake The Last House on the Left with original writer and director Wes Craven as a producer. The company intended to preserve the storyline of the original film. In September 2006, it was announced that Craven had formed a production company, Midnight Pictures, under the umbrella of Rogue Pictures, and the remake for The Last House on the Left was selected as the company's first project. One of the reasons Craven agreed to remake The Last House on the Left was because of the money involved. In 1972, he did not have the budget to film every piece of the story he wanted to tell. With the 2009 remake, a larger budget allowed the filmmakers to pace themselves more during filming, taking more care while shooting, and expand the scope of the story more. One of the ways to accomplish this was for the producers to find a "rising young director to bring a new perspective for the story". According to the producers, who were impressed with Hardcore—which explored the world of teenage prostitution—director Dennis Iliadis was the person they were looking for. Co-producer Cody Zwieg stated, "Hardcore wasn't a genre or a horror film but showed completely believable characters in horrific, realistic situations. Many directors could handle the surface elements, the blood and shock moments of Last House, but Dennis proved that he could do it all without exploiting his characters and their situations." According to Iliadis, the director was quick to accept the responsibility of remaking The Last House on the Left, having already been a fan of Craven's and seen all of his films.

Writing

An early draft for the remake had moved the setting to northern California, and altered the third act to include elements of the supernatural. When that script was rejected, Carl Ellsworth was brought in to touch up the script written by Adam Alleca. Ellsworth had previously worked with Craven on Red Eye, but had never seen the original film. After reading the script and watching the 1972 film, the latter he found difficult to watch because of its extreme nature, Ellsworth decided that the first thing they needed to do was to establish someone whose survival you wanted the audience to root for. The writer wanted to know how the "typical family" would react to such a heinous act being perpetrated on their daughter, and what they were truly capable of. Craven points out that most of the early script problems were based around deciding what elements to include. They were never sure how much of the Krug family needed to be seen, what elements from the original film should be included, or even if Mari should live or die.

One of the changes that Ellsworth made was keeping Mari alive, as the character is found dead in the original film. The writer believes keeping Mari alive when her parents find her adds to the suspense, because there is now a "ticking clock" for the parents to get their daughter to the hospital. Another change to the character was making her a swimmer. Director Iliadis wanted to give Mari a "big character trait" that could be used as a coping mechanism for the character, as well as become an important component to her escaping Krug. As Iliadis explains, "Well the idea was to find something where she channels all her energy and that was a big character trait because her brother is dead. It's like she's carrying him on her back. She needs to perform for two people now. She has to compensate for him so all her energy is in the water. The only area where she feels slightly free is when she's in the water swimming like crazy, so it's interesting having that as a character trait, and then having that as a key element for her trying to escape."

The writer changed the fate of another character, Krug's son Justin attempting to give the audience a better "sense of hope". Craven points out that early on he suggested that Krug have a son who commits suicide, but found it interesting to see "this strange Romeo and Juliet thing happening" between Krug's son and Mari. He also stated that he likes the fact that John Collingwood is a doctor who actually gets to use his skills in the film, unlike in the original where the character is merely identified as being a doctor. Craven comments, " an extraordinary moment" when John is forced to improvise a way to restore a collapsed lung; "It made it real." Ellsworth wanted to create a level of interest in the characters that would "engage ", as opposed to simply leaving the family in "even worse shape the end of the movie". He asserts that the film does not have a happy ending, but that there is some hope left at the end. Director Dennis Iliadis further explains that the point is to show the family from a different light. Initially the director feared that they were "wussing out" with the ending; he eventually decided that what you really see is a family that has physically survived this encounter, but are "dead in many ways". Iliadis expressed that he did not want to go the way of "torture porn", which is what he sees most horror films moving toward, but instead show a sense of "urgency" with the parents' actions.

Casting

When casting for the film, Iliadis wanted to find actors who would not portray these characters in a stereotypical way. As Craven explains, they wanted someone who would take these characters in a direction that most actors would not—they wanted originality. Craven states, "You need an actor who can bring a complete sense of commitment to that character without making it silly and not be afraid to go in there to the point where someone might say, 'Oh, you got bad in you?' You have to be brave enough and mature enough to know we've all got it, and you're not afraid of putting it out there and if you've got a problem with seeing that, tough." For instance, Iliadis wanted to avoid casting some superficially sexy actress in the role of Mari, because he did not want the rape sequence to appear enjoyable to the viewers in any possible way. Iliadis notes that when Sara Paxton came in her audition was "good", but it was this sense of intelligence and intensity that Paxton brought with her. The actress also had the "innocent face" the director was looking for, someone who had this "wholesomely American look" that would not allow anyone to enjoy watching her go through these intense events.

Iliadis auditioned dozens of actors before he hired Garret Dillahunt for the role of Krug, the leader of the family that kidnaps Mari. According to Iliadis, the actors coming in kept trying to portray Krug as the "typical bad guy", and that was not what the director wanted. In Iliadis's opinion, "the most sadistic criminal will smile"; when Dillahunt came in he brought a slyness to the character, and created "ambiguity and subtleties"