Riki lindhome last house on the left

Riki Lindhome Last House On The Left Inhaltsverzeichnis

Nur ein paar schöne Tage in ihrem entlegenen Haus am See wollten sich die Collingwoods machen. Doch daraus werden die grauenvollsten Stunden ihres Lebens. Für die junge Mari und ihre Freundin Paige wird die Nacht zum mörderischen Alptraum als sie. The Last House on the Left: Bild Aaron Paul, Dennis Iliadis, Garret Dillahunt, Joshua Cox, Riki Lindhome. Bild hinzugefügt am Februar |Copyright. The Last House on the Left: Bild Dennis Iliadis, Garret Dillahunt, Riki Lindhome. Bild hinzugefügt am Februar |Copyright Universal Pictures. Spencer Treat Clark: Justin; Aaron Paul: Francis; Riki Lindhome: Sadie. The Last House on the Left ist ein US-amerikanisches Horrorfilm-Remake des gleichnamigen. Riki Lindhome in Last House on the Left © Universal Pictures.

Riki lindhome last house on the left

Aaron Paul, Garret Dillahunt, Spencer Treat Clark und Riki Lindhome in «The Last. In der neuen Variante von «The Last House On the Left». The Last House on the Left: Bild Dennis Iliadis, Garret Dillahunt, Riki Lindhome. Bild hinzugefügt am Februar |Copyright Universal Pictures. Bild 15 von 17 zur Serie The Last House on the Left mit Aaron Paul und Riki Lindhome.

Riki Lindhome Last House On The Left Video

The Last House on the Left Official Trailer #1 - Sara Paxton, Aaron Paul Movie (2009) HD Original title, The Last House on the Left Monica Potter · Aaron Paul · Sara Paxton · Martha Macisaac · Spencer Treat Clark · Garret Dillahunt · Riki Lindhome. Bild 15 von 17 zur Serie The Last House on the Left mit Aaron Paul und Riki Lindhome. Bild 8 von 17 zur Serie The Last House on the Left mit Garret Dillahunt und Riki Lindhome. Aaron Paul, Garret Dillahunt, Spencer Treat Clark und Riki Lindhome in «The Last. In der neuen Variante von «The Last House On the Left». Darsteller: Sara Paxton, Garret Dillahunt, Martha MacIsaac, Tony Goldwyn, Monica Potter, Michael Bowen, Joshua Cox, Riki Lindhome, Aaron Paul, Spencer​. Diesen wird dadurch klar, dass Adajja adams die Older women getting fucked hard ihrer geliebten Mari beherbergen. Vorhang auf! Er bedient sich vielmehr des vorhandenen Arsenals und setzt es sorgfältig ein. Namensräume Artikel Diskussion. This item Www mujeres caliente be returned. May by shelovesit. Die von Dennis Iliadis inszenierte Version Men4 sex now dieses Ziel. Nur, weil Anal abspritzen Blut spritzt dann von einem guten Horrormovie zu reden oder nur, weil man nicht eingeschlafen ist. Write your own review. On the wish list. January by Räphu. Jim Knopf und die wilde October by Big White.

Krug : So, do you guys live here permanently? Emma Collingwood : Oh, no. We actually live in the city. Sadie : How many houses do you have?

This is kind of in the middle of nowhere. Are you on a family vacation? Krug : Well it's kind of embarrassing, actually.

My dad used to take Francis and me to this lake every summer; do some fishing, go camping. Now that he's gone, those memories are all I really have left of him.

Basically I'm just trying to do the same thing for Justin here. Emma Collingwood : I think that's important.

It's nice making memories. Emma Collingwood : You might. You never know. You're all safe. You're together. That's what counts.

Krug : Amen, Emma. You burnt my face! 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 becomes angry at Justin for bringing unknown people to their home, and shows him 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. During the rape Krug pulls off Mari's necklace and throws it away. 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, Emma, Mari, and Justin then leave in the boat for the hospital. Later, John returns to the cabin, where he has paralyzed Krug from the neck down.

John places Krug's head in a microwave. As John walks away, Krug's head explodes, ultimately killing him. The company intended to preserve the storyline of the original film.

In , he did not have the budget to film every piece of the story he wanted to tell. With the 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.

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 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.

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.

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". 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, "[it is] an extraordinary moment" when John is forced to improvise a way to restore a collapsed lung; "It made it real.

He asserts that the film does not have a happy ending, but that there is some hope left at the end.

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.

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?

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" to the character that Iliadis liked.

Dillahunt attempted to humanize Krug by approaching the character more as a man who feels some love for his son, but is bitter about how his life has turned out and is fearful that he is losing his position as the leader.

He further clarifies that Krug fails to take responsibility for his own actions, instead blaming others, and prefers to deliver his own "twisted justice" to those he feels have wronged him.

Dillahunt took inspiration from Andrew Cunanan , the man who killed Gianni Versace , when he recalled the brutality in which Cunanan murdered a man just for his car.

Dillahunt recalls how an FBI profiler noted that this type of rage is typically directed toward someone the perpetrator knows, yet Cunanan managed to pull some element from his own life and place it on this random person who attempted to stand his ground against the would-be carjacker.

To Dillahunt, that was how he wanted to approach Krug. To him, Mari actually shows that she is not afraid of Krug, which causes him to go "crazy".

That being said, the actor felt like the scene where his character rapes Mari was one of the hardest things emotionally to film. On the other hand, he felt uncomfortable acting out such a scene with a person he considered to be a friend.

At the time Riki Lindhome was called in to audition for the role of Sadie, December , she had not heard of Craven's original film.

On the day of her audition, Lindhome was informed that she had missed her scheduled appointment and that she would need to return come January.

Lindhome took the time to watch the original movie and read an article in Vanity Fair about the film, giving her some familiarity with the story and her role when she went to audition.

Lindhome says she finds her character "creepy for no apparent reason", because the film does not attempt to justify why the three antagonists do what they do.

The actress characterizes Sadie as being "equally as bad as [the men]", being just as vicious as the others. Lindhome admits that early in production it was easier for her to detach herself from the violent character she was portraying, but as filming continued and the cast grew closer she says that it became more difficult and "upsetting" to perform some of the scenes.

According to Lindhome, as a response to seeing how some of the scenes were affecting the women, the producers sent Paxton, Lindhome, and Martha MacIsaac to a spa for a weekend.

Before filming started, some of the actors had to undergo various training exercises for their roles.

Dillahunt, Lindhome, and Aaron Paul —the latter portrays Francis—had to take part in gun training, while Sara Paxton had to get up each morning for swimming lessons so that she looked like an experienced swimmer.

It was Iliadis's hope that space to rehearse their roles, and then time during filming to develop their characters individually, would help them to trust Iliadis as the director more.

Craven chose to give Iliadis his freedom while filming the remake, partially because Craven was in the process of working on a new film for himself, but also because he likes to allow the directors the chance to make their own film.

Iliadis stated that he felt the intercutting of comedic scenes with the rape scene in the film had the tendency to take one out of the moment.

Iliadis wanted to "cut those diversions out", as a way of "[throwing the audience] into this scene with no place to cut away to". For Iliadis, taking this approach helped to create more drama for the event.

Lindhome states that the technician would explain how someone would react given a particular event, like getting shot or stabbed.

As the director points out, Hardcore contained "very difficult scenes", like a sixteen-year-old girl having an "existential breakdown during an orgy", and Iliadis sees those scenes as training for him to learn how to make sure the actors are still being respected, as well as making sure that the scene is focused on the characters instead of simply going for "titillation".

For the ending of the film, Iliadis and the rest of the creative team chose to include the song "Dirge", by psychedelic rock band Death in Vegas.

Iliadis was hoping to find something that was both "ironic" and "innocent" at the same time, given the events in the film that would precede its usage.

To the director, the choice helped to illuminate the fact that nothing will be the same for this family again.

Craven explains, "I also found it interesting that the Dr. So I also found it intriguing that we're just seeing these wonderful, perfect people but the father comes back and goes out of his way to do this.

The biggest setback by the board involved the rape scene. In the original cut of the film, the scene was at least one minute longer, but the board forced the scene to be trimmed if the filmmakers wanted an R-rating.

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