Director Sean Cain and screenwriter Wes Laurie worked on and filmed Breath of Hate in 2011, and then with appears lack of distribution, the movie was either repackaged or redone, neither can be confirmed, as this reviewer did not see the 2011 film, although the comparison of cast of both movies almost mirrors each other. The title The Last House sadly stands ambiguous, making one think of other horror films that have a more definite meaning, if fact the original title proves more interesting. Needless, this review focuses on the movie released in 2015, and that it garnished distribution from Wild Eye Releasing.

The movie centers on many movie pieces, some that appears in direct conflict of each other, and strives to provide with fascinating visuals and creative expressionism for what the filmmakers perceive as a psycho-sexual thriller. Basically, Ned (Jason Mewes) wants to take a prostitute named Love (Lauren Walsh) out of the business, because obviously he loves her, and the fact that she does not charge him for services, though feels willing to pay. However, in lays the problem with her pimp Sonny, (Jack Forcinito), whose sincere feelings for his pet turtle, and deadly intentions to everyone else, promises to release Love, after one final “party”.  Now on the opposite side, for this party, resides an extremely unorthodox casting of characters lead by Hate (expertly portrayed by Ezra Buzzington), Cleb (Richardo Gray) as a sexual psychotic deviate and rounded out by dominatrix Selma (Monique Parent) all out for homicidal experimentation.  Although, noting another killer, Candy, proves just too sweet for some, as Joanna Angel, yes, the adult performer of over 160 credits, yet transitioning to the horror genre, with a recent role in The Horror of H.P. Lovecraft (2006). A blip on the screen, with a cameo appearance, Felissa Rose is a misplaced and misused actresses in the movie, her genuine acting talents should garnish a more solid role, especially as a horror star with over 67 credits in the genre, as realtor with run-in with the psychotic trio. Viewers expect to see torture porn, sadly the porn aspect even with Tommy Pistol, a star of the genre and over 460 films, all turns out a softcore effort, and as for the torture the dullness sets in early, and more violence found in the average episode of Criminal Minds. Though Cleb does a fine job of chewing out cheerleaders, his antics don’t save his role or the character performance overall.  The series of toe-sucking, mild spanking, and other sorted sexual musings add a tease of humor, but never advance further, rather the thought of watching paint dry feels more interesting.

As for the storytelling and narrative structure of the film, the techniques implementation on the feature, unfortunately leave much to desire. The moments of brutality, interject with various images and snippets of incoherent structure, such as Love appearing in the background of a scene only to vanish again within a second, repeatedly, drives an audience into a state of confusion. A movie needs a central line to cling to for understanding even in the most arthouse production, but the chronological order jumbles the tale a tad too much for the average viewer. Some could suggest the artistic expressionism evokes a canvas of emotion splashing wildly abandonment of dreams, desires, and paranormal acts all coexisting, sadly herein results in a disconnect and disjointed experience. Films need to provoke or give a viewer an introspective reasoning to examine their world outside of the theater applying into reality, and others exist for the escapism to entertainment. The expression of a painter with a canvas allows the splashes of zing everywhere and taken into one frame for the individual, however film, is a series of canvases and thereby need a baseline to relate to for a measure of comprehension.

One feels as if the director sought to create a fantasy horror film similar to Frankie in Blunderland (2011), with an erotic horror twist, but both miss the mark, and never achieve the proper footing for the vehicle or the audience, the starting point of the weirdness stays in the same arena, never advancing past it. In addition, a reflection upon the meaning of a title, this film’s The Last House, tells the viewer nothing, the words give no direction, The Last House on the Left (1972) or (2009) everyone understands the sinister nature of it. For instance, the movie called The Witch (2016), it is involves a witch, or Friday the 13th (1980) about something occurring on the date, it needs to fulfill a reasoning for the summation of the work. The movie simply not intended for everyone, though if one seeks an alternative horror movie then this option might intrigue you.

This review originally published on the Rogue Cinema site in March 2016 with a view count of 1,649.

IMDb Rating: 3.1/10

Baron’s Rating: 2.5/10