IN 1972, writer-director Wes Craven - unknown at the time - shocked audiences with his grisly rape revenge thriller, The Last House On The Left.
Very much a product of its era, the film tackled contro-versial subject matter on a minuscule budget and reflected the prevailing anti-authoritarian mood in a country bitterly divided over Vietnam.
If audiences were stunned by Craven's vision, cen
sors were horrified, banning the film in the UK for many years - it finally became available on video in its uncut form in March 2008.
For the film-maker, this incendiary debut sparked a glorious and highly-lucrative career, awash with seminal moments such as The Hills Have Eyes, A Nightmare On Elm Street, Scream and their sequels.
The 21st-century remake of Craven's notorious vision, directed by Dennis Iliadis, trails wearily in the footsteps of updated versions of The Texas Chainsaw Massacre, Hallow-een and Friday The 13th.
It is a pointless revisit to a landmark in modern cinema, spruced up with impressive make-up and special effects as two parents declare war on the thugs who brutalise their daughter.
Mari Collingwood (Sara Paxton) and her friend Paige (Martha MacIsaac) flirt with shy teenager Justin (Spencer Treat Clark), who promises the girls a share of his drugs stash if they follow him back to his motel.
The chilled-out mood is shattered when the friends are attacked by Justin's father, escaped criminal Krug (Garret Dillahunt), and his cohorts, brother Francis (Aaron Paul) and girlfriend Sadie (Riki Lindhome).
Paige is stabbed to death and Mari is raped and left floating in the river.
Miraculously, Mari manages to paddle home to her parents John (Tony Goldwyn) and Emma (Monica Potter) in the middle of a storm. John, who is a doctor, hurriedly stabilises his daughter's condition, then he and Emma realise the people sheltering in the guesthouse are Krug, Francis, Sadie and Justin.
"We have to be ready for anything. We have to be ready to do anything," John tells his terrified wife as they arm themselves with a kitchen knife and fireside poker.
Fake blood runs over in Iliadis's re-imagining of The Last House On The Left, including a very gory moment with a sink waste-disposal system, which is where, arguably, the film belongs as well.
Performances run the gamut of pain, fear and rage without any tangible depth.
