See more at IMDbPro. Trailer Version 1. Clip Promo Photos Top cast Edit. Simon Rex Dan as Dan. Ashley Tisdale Jody as Jody. Gracie Whitton Kathy as Kathy. Ava Kolker Lily as Lily. Dylan Morris Aidan as Aidan. Ryan Morris Aidan as Aidan.
Lidia Porto Maria as Maria. Darrell Hammond Dr. Hall as Dr. Manoux Pierre as Pierre. Josh Robert Thompson Narrator as Narrator voice. Marisa Saks Amy as Amy. Malcolm D. Lee David Zucker additional scenes uncredited. More like this. Watch options. Storyline Edit. Happily-married couple Dan and Jody begin to notice some bizarre activity once they bring their lost nieces and nephew home.
But when the chaos expands into Jody's job as a ballet dancer and Dan's career as an Ape researcher, they realize their family is being stalked by a nefarious demon. Together, with the advice of a psychic and the aid of numerous surveillance cameras, they must figure out how to get rid of it before it's too late. Evil is coming. Bring protection. There is power in facing and overcoming these fears and finding comfort in that. The solace found in the familiar is good for us, but it also ceases to hold the same kind of power when we are lulled rather than disturbed.
Horror is a call to examination and to action. Comfort rarely stirs us to either. Wes Craven was particularly articulate on these points. He believed that the first thing the audience should be afraid of is the filmmaker. In other words, we should be uncertain of where they will take us and what dangers they will confront us with. It is a lesson he learned from Alfred Hitchcock in Psycho , who caught the audience off guard by killing off a star less than halfway through the film.
Craven recognized the power that the genre had to tell stories in an entertaining way that could tap into the conscience for social change. It has never bothered me that non-horror fans are critical of the genre. It is perfectly understandable to be repelled by violence and monsters. I find it funny when they are surprised by how well-adjusted, compassionate, and empathetic horror fans tend to be.
The value of horror is an age-old argument dating back to debates between Plato and Aristotle. Plato felt that the violence and horror on display in the amphitheaters of Athens were bad for society, while Aristotle argued for the value of catharsis. My concern now, however, is that all too often the Platonic argument is rising not only from outside the so-called horror community, but from within it. This is my main reason for writing this article. In it, the Blind Man, the extreme villain from the first film, appeared to be presented as the hero of the sequel.
The discourse was savage on both sides. It was instructive, however, in bringing to light an important question: is there a line to be crossed? A huge objection to The Last House on the Left is a scene in which Krug and company are humanized as they stare at themselves in disgust, picking grass from their bloody hands after a particularly brutal and inhuman act. This is also the sequence that raises the film above others of its kind. When it comes to this tactic, it all depends on how the material is handled.
Is it satire? Is it cultural examination? Or is it merely exploitation? The audience will usually be able to tell the difference. The location remains an obscure American town where strange murders and paranormal happenings are a norm. The movies paint an absurd picture of this fictional place, but where is it in real life? It hit the nerve with the most popular horror movies and psychological thrillers at the time and brought them together in such a strange mix that it became impossible for the audience to believe that all these things had not existed in the same universe before.
In attempting this feat, the series also created a narrative of its own with repeating characters and locations that pumped more humor into the story. The shooting for most parts recycled some familiar locations, especially in the first couple of films that focus on teen horror. With the later parts, the story diverted into a different direction with the filming expanding to more places.
For most of the series, the production set camp in Canada, mixing all sorts of places to give a cohesive look to the small towns where the characters get entangled in weird horror traps. Several locations in California were also employed, especially in the later movies.
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