Let's dive into the world of Louis Leterrier's latest Netflix thriller, 'The Last House,' a film that, from the get-go, seems to be a wild ride of genre-hopping and tonal shifts. It's a chamber piece, a term that often implies an intimate, character-driven story, but in this case, it's more like a chaotic game of tonal hopscotch.
The Setup and the Strange
The movie opens with a seemingly mundane scene of a man, Jason Delgado, fishing in the rain. It's a quiet, almost melancholy moment, but it quickly gives way to a happier family dynamic back at home. The stage is set for a story that could go in many directions, and that's precisely what happens.
A Trapped Family, a Trapped Audience?
Before long, the Delgado family finds themselves trapped indoors, a premise that could have led to an intriguing exploration of human psychology and survival instincts. However, the film seems more interested in jumping between genres and scenes, leaving little room for the audience to breathe or connect with the characters.
The family's behavior, especially as they try to understand their situation, feels more like a device to move the plot forward than a natural human response. It's as if the characters are being pulled along by an invisible force, and their actions often seem random and unmotivated.
A Metamorphosis of Sorts
As the days turn into weeks, the film transforms from a potential COVID-inspired lockdown story to a survival thriller, and then, unexpectedly, into something akin to a Lovecraftian horror. But these shifts are jarring and lack the necessary build-up or atmosphere to make them effective.
The production design, which tracks the passing of time, is one of the few elements that feels intuitive and well-executed. However, the performances, especially from the talented Wagner Moura and Greta Lee, are reduced to cheap melodrama, a result of the film's erratic pacing and tone.
A Tale of Disparate Parts
'The Last House' feels like a collection of disparate ideas and footage hastily assembled. The moralizing about humanity's place in the world, delivered through clunky narration and flashbacks, further highlights the film's lack of coherence. Leterrier's previous works, while not auteur classics, at least maintained a certain level of mainstream coherence, but here, it's as if the story is being pulled in too many directions at once.
A Bewildering Experience
In the end, 'The Last House' leaves viewers with a sense of bewilderment. It's a film that never quite comes together, despite its talented cast and intriguing premise. The individual elements might be there, but the final product feels like a disjointed, erratic mess. It's a shame, as the potential for a compelling, thought-provoking story was certainly present.
Personally, I think it's a missed opportunity, and one that highlights the dangers of trying to cram too many ideas into a single film without a clear, cohesive vision. It's a reminder that sometimes less is more, especially when it comes to storytelling.
