Louis Leterrier's The Last House, arriving on Netflix on August 7, attempts to weave a compelling narrative about a family trapped in their home, but ultimately falters due to a lack of consistency and a disjointed execution. The film, described as a chamber piece, careens through genres with a frenetic editing style that creates the illusion of movement without substantial plot progression.
The story begins with Jason Delgado, played by Wagner Moura, fishing off the Seattle coast. His seemingly somber mood and sparse catch quickly give way to a depiction of a happy family life with his wife Riley (Greta Lee) and their two children, Graham and Ruth. However, this domesticity is abruptly interrupted when the family discovers their doors and windows will not open, a predicament mirrored by their neighbors. The film offers little buildup to this central mystery, with the family's immediate leap to supernatural explanations feeling more like a plot device than a natural human reaction.
As days turn into weeks, the Delgado family grapples with their confinement, and the film shifts its focus. It flirts with themes reminiscent of COVID-19 lockdowns, morphs into a survivalist thriller, and then veers into other, less defined territories. This constant genre-hopping, coupled with a lack of dramatic breathing room, results in an awkward and jarring viewing experience. Despite its nearly two-hour runtime, the film feels rushed, with abrupt transitions between scenes and conversations.
The narrative eventually expands to incorporate Lovecraftian concepts, but fails to establish the necessary eerie atmosphere. The production design of the family's home attempts to track the passage of time, yet the characters' behavior does not intuitively reflect these changes. Moura and Lee, recognized for their acting talents, are underutilized, often portrayed as exhibiting random bursts of anger and melodrama. Their performances are characterized by sudden shifts from passive to hysterical, a symptom of what appears to be poorly managed footage.
The film's attempts at moral commentary on humanity's place in the world are delivered through clunky narration or contrived flashbacks. Leterrier, whose previous directorial efforts include The Incredible Hulk and Clash of the Titans, has historically delivered more coherent mainstream fare. The Last House, whether by Leterrier's design or Netflix's influence, feels like a compilation of disparate elements, lacking a cohesive vision. While individual shots may be visually competent, the overall assembly feels fundamentally flawed.