Without a doubt, the most disturbing film I have ever seen. It has been about six or seven years since I have seen this film. But it is still so fresh in my mind that when I got to this area and began to think of what I was going to say about this film, my stomach got queasy again. It had and still does have that affect on me. The only reason I rented this film back in 1992 was because I was convinced that ( along with Jaws and Halloween ) Nightmare on Elm Street was the one of the scariest movies I had ever seen. And when I found out that he had an earlier film to his credit, I had to see it. And what transpired in the 90 minutes that this film played in front of me was a plethora of emotions that most movies can't even come close to mitating. I felt sick, I felt ashamed, scared, traumatized and many other feelings. I was so bothered that after the film was over I took a drive for 3 hours ( not an exaggeration either ) to clear my head and to calm down. 

The story is of two girls that are going to a concert and they hitchhike to get there. They get picked up by three crazed psychotics that do everything they can to violate these two teens. That's all I'm going to say about the film because if you are reading this review and you haven't seen the film, then you should experience it without any idea of what happens. It works better that way. 

Was this a good film? Yes. Did I enjoy it? Absolutely not. It left me exhausted and sad and I really thought I was going to cry in it. And for a horror movie to do that to me is quite something. But I have to say that I watched it three times just to fully understand the film. I remember reading a review of Aliens by Roger Ebert and he said that the film was a work of art and he gave it high marks but the film was so much of a play on your emotions that he did not enjoy it. He was terrified more than he had been before. That is how I feel about this film. It is masterfully made, but it is a tough film to watch. Even after writing this review I am going to have a hard time getting the images out of my head. So my advice to you is if you are going to watch this film, proceed with caution. The subject matter in this film makes 8MM look like Anne of Green Gables. 

This is the first time the tagline has read so true. Just keep repeating to yourself that it is only a movie, it is only a movie...... 
Dan Grant - London, Ontario 

Probably one of the top 5 scariest movies of all time. Like Henry, scary because monsters like this really can get you. One of the most chilling, cold-blooded movies ever made. 

kittenwithawhip 

I recently 'discovered' this film on the recommendations of a friend, and have never appreciated or regretted a friends advice.  The recent extension & rerelease of this film on DVD will ensure that David has plenty of newcomers vying for his autograph at any number of horror movie/pop culture conventions.  His turns as both Actor & Composer are equally strong, and Wes Craven's first foray into Writing/Directing still stands as a great "pre-Clerks" statement on the potentials of Guerilla Filmmaking.

The heavy layers of irony, macabre humor and jarring visuals in Last House- helped to define a genre.  Still studied by film buffs & students to this day, it's a film that has stood the test of time, and in the wake of "Blair Witch", "Reservoir Dogs" and "Scream" it still stands out as a visionary original.

In my viewing of the film, most notable was Craven's already existent nuances for irony, and juxtaposition.  Images clash, seemingly at odds with each other, but then also, symbolically not.  Krug's intial attack on Phyllis is cut against scenes of Mari's parent's baking a cake.  Symbolic of devouring, of carnal appetites, of consumption.  This is underscored by Sadie's comment on Freud in the car.

Some are obvious.  That the band that Mari & Phyllis are going to see that night is named Bloodlust.  Some are in shots that you'll be hard pressed to catch if you don't think about it.  Krug & Co. are in Mari's room, two posters in her room are of Jimmy Hendrix & Janis Joplin.  Both of these performers, posterchildren of the hippy generation, were dead within a year of each other in 1970-1971.  An extremely under-the-radar macabre reference, considering that the film was officially released in 1972.

In all, a great movie that defies genre and media.  Unrelentingly unnerving, and a must see for any Wes Craven or David Hess fan.  And if you're *not* a David Hess fan.... this film will MAKE YOU ONE!

-BAR-1

I very briefly met David at the Phoenix Arts Centre in Leicester, England, toward the end of June 2000. This was during his tour with Gunnar "Leatherface" Hansen, when all of us obscure movie buffs could finally see LAST HOUSE in all its widescreen glory, alongside THE TEXAS CHAIN SAW MASSACRE. I couldn't believe the local newspaper when I read the announcement: LAST HOUSE will play in Leicester! I thought I was dreaming, or hallucinating or something, but no, it was true... and I LOVED the film, let me say!

I gave David a colour artwork I'd done, my own interpretation of the LAST HOUSE poster, and he graciously accepted it, saying he hoped I'd spelt his name correctly (which, of course, I had). The audience Q&A was highly entertaining and informative, and David came across as a very intelligent, articulate man, whose answers to audience members' questions were carefully considered and frequently humorous. 

LAST HOUSE was the day's big event. CHAIN SAW is a great cult movie, always a pleasure to behold. But Wes Craven's nasty, notorious debut feature was everyone's main reason for being at the Phoenix Arts screening. And it certainly didn't disappoint. Raw, ragged round the edges, sometimes undisciplined, yes... but POWERFUL? Well, it was MORE than powerful. For a thirty-odd year old film, it was AMAZING. One thing that really struck me about LAST HOUSE was its humour. So many reviews have stated that it's a "downer", but there's a lot of humour in there, much of it very subtle, and a deep-rooted intelligence. Aside from THE HILLS HAVE EYES, I've never seen a better Craven film. SCREAM and its sequels may be very commercial-friendly, but they're not a patch on his first film (for all its low-budget flaws and rough edges). In fact, it's precisely because of those rough edges that LAST HOUSE is so successful. Were it slick and glossy, its scenes of horror and defilement would mean nothing. We'd leave the cinema and, ten minutes later, we'd have forgotten all about them. But the grainy 16mm photography and unfamiliar actors make such terrifying set-pieces as the rape and murder of Phyllis and Mari all the more atmospheric and unsettling. And that great "hand with machete shooting into frame" moment scared everyone in the audience shitless! I loved LAST HOUSE, and I can't wait until it is finally released on DVD in the UK in a couple of months' time. Only thirty years too late! David's performance as the truly despicable (yet still human) arch-villain must surely rank as one of the high-points of 70s independent cinema, and Fred Lincoln is similarly terrific as his venal sidekick. On other thing... Lucy Grantham and Sandra Cassell give REAL performances as the lovely victims, so we really do CARE for them when Krug & Co. are butchering them. How much better so many horror flicks of the last 25 years would have been had their writers/directors created similarly sympathetic characters. This is probably why LAST HOUSE is about 2,500,000 times better than FRIDAY THE 13TH or SCREAM or any of those movies - because it presented believable, likeable characters - and it also made its villains real people, not caricatures. Which all goes to prove that a big budget, Hollywood gloss and super-slick advertising do not a great horror film make. LAST HOUSE may have cost peanuts, compared with most contemporary pieces of drivel - but it's still in a completely different class.
Well done, David and Co. 

Gary Roberts, UK
 

THE SWISS CONSPIRACY was advertised as "the ultimate blackmail thriller", and while it's too far from reaching top-notch status, it is a stylish piece of 70s intrigue from across the Atlantic. A B-movie running on overdrive is what you may hardly ever believe, but there is some attention worth grabbing on the action parts that flow at a solid pace, and can provide a few nifty surprises. Just try not to expect plenty of spectacular stunts from a flick like this, although the exotic sports cars are worth a look. If there are certain B-movie stars you can recognize, look for John Saxon in a convincing, but unfortunately brief role of a crook, plus international film starlets Senta Berger and Elke Sommer. And don't forget our major eye David Janssen, who's trying to get things straight with lovely Berger on his wing. A pretty good minor crime classic that delivers a slightly different beat of an ending. 

Jason C. Atwood - Suffolk, Virginia 

Director Pasquale Festa Campanile is best known for thoroughly unremarkable comedies, some of which being on the saucy sexy side. This film here, however, does not easily fit into his CV. 

Hitch Hike is a moody thriller, with a collection of unpleasant characters one would rather expect in a piece by Ruggero Deodato. If this film contains any humour (which is debatable) then certainly only of the dark and cynical kind. There are clear-cut villains (no surprises: David Hess) in this film, but the complete absence of really likeable characters makes this uncomfortable viewing. This film is certainly not for everyone and many people will find it shocking. 

Still, Hitch Hike... is excellently put together, it is very effective in what it is trying to do. Campanile may be out of his genre here but he certainly was not out of his depth - this is one of his best films. 

Stefan Kahrs - Canterbury, England 

Initially, the main appeal to Hitch-Hike might be to see David Hess in another psycho role. As usual, heís great. If anyone was born to portray a real sicko, it was David Hess. But, Hitch-Hikeís got a lot more going for it. Franco Nero is a journalist with a bit of a drinking problem. Heís also married to the very hot Corinne Clery. Theyíve decided to drive through America to see if they can save their failing marriage. Things donít go as planned as they pick up a motorist whose car is broken down on the highway. This person is none other than, you guessed it, David Hess. Heís just escaped from the loony bin and heís robbed a bank of 2 million dollars. Now heís trying to get to Mexico before the cops or his two partners find him. He takes pleasure in shooting up innocent people, killing his buddies, and berating Franco Nero. The ultimate has to be when he ties up Nero and then has sex with Corinne Clery in front of him. Of course that wasnít nearly as devastating to Nero as seeing his wife actually enjoying Hess. Ouch! The ending should catch you off guard. I certainly was surprised. The characters are all creeps in Hitch-Hike and the cast does a great job making them unlikable. I was totally blown away by Hitch-Hike and recommend it to fans of Franco Nero, Corinne Clery, and David Hess.

Unkn

Good mix of Lee Marvin, Linda Evans & Robert Shaw. This film has a good plot and real characters. The scenes of Milan and Europe in winter are good. Dysktra's avalanche special effects are not quite Star Wars but very good. If you like trains, travel with Cold War under tones, you like this movie. 

MaryEllen Stover - Bucks County, PA

House on the Edge of the Park is one of the strangest films I've ever seen. That is, strange in a very interesting way. I've been watching the film for about 15 years (not constantly, of course) and I believe the true cutting edge scene is when Ricky and his "would have been victim" are making love under the house. He tried to rape her and now they share a very tender moment together while his buddy Alex is inside making short work of the other rich kids.

David Hess is masterful as Alex by the way, always going the extra mile, but coming off as just a notch above the bully most us encountered in school until he is provoked beyond his sensibilities. David Hess gives so much energy to his fellow actors that their fears are highly believable. This film never ceases to move me. 

Beau Phillips - USA 

A worthy follow-up to the engrossing "Cannibal Holocaust", "House On The Edge Of The Park" is a leisurely-paced thriller with yet another outstanding performance from David Hess. John Morghen gives adequate support as the mentally challenged Ricky but the the upper class "victims" are despicable in their ugliness, especially the charmless, virginal, Cindy. 

A grueling film to watch and one that will pander to baser instincts--such was the nature of the horror/slasher movie in the 1970-1984 period. Nevertheless the film contains some touching love scenes, with Alex and Lisa's upstairs romp (complete with sickly love theme) being on an erotic par with Sutherland and Christie's session in "Don't Look Now". 

Paul English- Dublin, Ireland 

The classic horror film "Last House on the Left" did more than put fear in my heart. It also put a tune, or two, in my head. I first saw it on video back around 1985. A few days later, I had the songs which punctuated the soundtrack -- a blend of good-time folk and easy listening tunes -- running through my head. The song "Wait for the Rain" was one in particular.

"And the road leads to nowhere 
And the castle stays the same 
And the father tells the mother 
Wait for the rain..." 

The songs didn't stick necessarily because of the power of the film. Truth is, the songs are quite catchy, even infectious. When the film's star and composer, David A. Hess, released a CD soundtrack many years later in 1999, immediately picked it up and added it to my collection. On it, I found a slew of other catchy folk tunes which, as far as I knew, were not in the film but which were just as catchy. 

Now, in October 2001, Hess has decided to release a new CD filled with a dozen new tracks. And it's about time. 
Hess, who studied music composition at Julliard and helped write three songs for Elvis, has a talent for spinning words into music. His words and music make impressions. This is especially so with his new CD, "Caught up in the Moment," which is probably his most personal project. 

The 12 folk/easy listening tracks include foot-tapping traveling tunes like "High," a poem for his daughter called "Ballerina" and a catchy tune which would play well in any piano bar, "Animal Dreams." I say it's probably his most personal project because these songs are about him, his soul, his emotions, his family, his life. 

"I've been asked so many times where have I been for the last 25 years...this CD is a collection of 'Me's' over that time span," Hess said in the CD notes. If this is the soundtrack to the life of David Hess, it's a pretty good one. Just this morning, as I walked into the office to check my schedule for the week, I could hear "High" playing in my head and it chased the blues away. 

"I'm gonna get high like I did before 
and I won't stop 'til she's out the door..." 

I'd recommend this disc to anyone, but especially people in the area who like folk music. I'd also recommend this disc to anyone who saw "Last House," or "House at the Edge of the Park." I can just hear myself now.  "Hey, you know the guy who cut that girl Cindy with the razor...You know, he can sing." Tell David good luck and I hope he keeps churning out his brand of poetry, folk and soul. 

Sincerely, 
Stephen Pytak - Port Carbon, Pa.