Stephen King, the renowned author, openly criticized the original version of several horror films, including Stanley Kubrick’s The Shining, yet praised their remakes. In particular, King expressed disdain for Jack Nicholson’s portrayal of Jack Torrance, arguing that the character seemed unhinged too early, which diminished the building suspense. However, King admired the 2009 remake of The Last House on the Left, calling it
“on par with The Silence of the Lambs,”
despite many favoring Wes Craven’s 1972 original. This contrast highlights King’s unique perspective on horror remakes versus originals.
How King’s Viewpoint Challenges the Original ‘Last House on the Left’
Stephen King has long been vocal about his dissatisfaction with the 1980s film adaptations of his work, though his views on horror movies beyond his novels also reveal his distinct taste. Wes Craven’s The Last House on the Left was his directorial debut and initially sparked controversy, seen by many as exploitative shock cinema when first released. Based loosely on Ingmar Bergman’s The Virgin Spring, the original film gained a cult following over time and is now viewed by some as a milestone in horror filmmaking. Nonetheless, when it came out, many, including King, dismissed it harshly.
The 2009 remake, directed by Dennis Iliadis, benefitted from decades of hindsight, aiming to deepen the story’s themes and offer a more realistic portrayal of its characters. The intentions were to make the horror more palpable and disturbing by grounding it in believable human behaviors. Although the original still holds a 64% rating on Rotten Tomatoes, the remake’s score sits at 42%, reflecting divided opinions among critics and audiences despite King’s praise.
King’s Endorsement and the Remake’s Strengths
In a 2010 Entertainment Weekly article listing his favorite movies from the previous year, Stephen King included The Last House on the Left remake alongside other acclaimed films such as The Hurt Locker, The Road, and District 9. His approval was especially centered on the acting, highlighting Aaron Paul’s “especially fine” performance as a key factor in the remake’s effectiveness. The cast’s believability was designed to enhance the horror’s impact by making the characters’ reactions seem authentic and compelling.
For those unfamiliar, the story revolves around two teenage girls, played by Sara Paxton and Martha MacIsaac in the remake, who encounter an escaped convict named Krug Stillo, portrayed by Garret Dillahunt, and his violent family. The girls try to escape but suffer horrific violence — sexual assault and murder — although unlike the original, one girl survives the remake. The criminal family then takes shelter unknowingly in the home of one of the girl’s parents, prompting a brutal retaliation. This grim narrative seeks to explore themes beyond mere shock, avoiding reducing the films to simple torture pornography.
Differences in Cast and Character Portrayal Between Versions
The original cast included Lucy Grantham as Phyllis Stone and Sandra Peabody as Mari Collingwood, while David Hess played Krug Stillo. Other actors in the family included Fred J. Lincoln portraying Fred ‘Weasel’ Padowski. The remake featured talents such as Sara Paxton and Martha MacIsaac in the lead roles, supported by Garret Dillahunt, Spencer Treat Clark, Riki Lindhome, and Aaron Paul. This change in casting aligns with the remake’s attempt to ground the characters in greater realism, which King praised.
Both films are available through AMC platforms, with the remake also accessible on HBO Max, allowing modern viewers to compare the two versions directly. While both movies depict harrowing violence, they also strive to present these events with a narrative purpose, reflecting shifting approaches in horror storytelling over the decades.
Implications of King’s Opinions on Horror Adaptations
Stephen King’s contrasting views highlight the tension between original horror films and their remakes, particularly regarding faithfulness to source material, acting authenticity, and thematic depth. His dislike of Kubrick’s The Shining but endorsement of the 1997 miniseries, alongside his praise for the 2009 Last House on the Left remake, suggest that he values narrative consistency and character realism in horror. These preferences influence how later adaptations are judged, encouraging filmmakers to consider these factors to resonate with audiences whose tastes might differ from the original context.
King’s stance also opens up broader discussions about how horror films evolve over time, reflecting changing sensibilities about violence, character psychology, and storytelling. His approval lends the remake notable credibility, even if critical and popular opinions remain divided. Future horror remakes may well look to his critiques and endorsements when navigating how best to reinterpret classic stories.
