In Hollywood's halls of remade fame,
A trend of tarnished legacies proclaims,
Souls lost in soulless, misguided attempts,
To revive iconic films, now but a faint.
Yet, exceptions rise, like beacons bright,
The Last House on the Left, a horror in sight,
Dennis Iliadis' 2009 remake, a notable feat,
Surpassing its original, a rare repeat.
The 1972 version, a debut of sorts,
Wes Craven's first, with controversy it reports,
Commercial success, but quality lacking,
A "rape and revenge" subgenre, forever packing.
Craven himself, acknowledged the flaws,
Inexperience and budget, a hindered cause,
As executive producer, he sought to rectify,
The shortcomings of his past, with a polished eye.
The 2009 version, a screenplay so fine,
Adheres to the plot, with a more impactful design,
Mari Collingwood, a talented swimmer, so bright,
Lured into darkness, by a charming, sinister sight.
Krug, a psychopathic villain, with a twisted delight,
Subjects girls to horrors, beyond the night,
The Collingwoods, with vengeance in their hearts,
Seek justice, with a father's medical arts.
Iliadis' direction, with a larger budget's might,
Crafts intense final scenes, a visceral, thrilling sight,
The performances, solid, with some standing tall,
Tony Goldwyn, Monica Potter, and Gareth Dillahunt, after all.
Riki Lindhome, a comedienne, with a dark, depraved role,
Brings a memorable presence, to a one-dimensional soul,
The film's box office, solid, but cult status, not attained,
A better film, technically, yet overshadowed, its predecessor maintained.
In the realm of remakes, a rare gem is found,
The Last House on the Left, a horror, that's renowned,
For its intense, thrilling, and impactful design,
A testament to Iliadis' direction, and Craven's refined.
(Note: The review in its original form can be read here.)
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