‘The Last House’ Review: A Family’s Struggle in a Sealed Home

Louis Leterrier has built a diverse career, transitioning between genres such as martial arts, magician heists, and superhero origins. His latest endeavor, ‘The Last House,’ lands on Netflix as a domestic survival thriller, presenting a high-concept premise that is easy to summarize but challenging to sustain for nearly two hours.

The story centers on the Delgados, a family of four residing in a Seattle suburb who wake up one day to find every door and window in their home sealed shut. Jason, portrayed by Wagner Moura, is an unemployed engineer burdened by financial guilt, while Ann, played by Greta Lee, strives to maintain family unity as their children, Graham and Ruth, witness their normal lives unravel.

What begins as an eerie mystery gradually morphs into a form of creature horror, complicating my feelings about the film. The initial segments, where the family grapples with the inexplicable situation and the rain outside seems to possess its own will, create a palpable sense of dread. However, as the film starts to clarify its rules and unveil its monsters, much of that tension dissipates into a more conventional narrative.

Lee and Moura deliver commendable performances, particularly in scenes that allow them to explore their characters’ depths. Their portrayals resonate with authenticity, especially as five years pass and the family’s dynamics sour under the strain of isolation, resentment, and dwindling resources. I found myself more engaged in the tension between two weary parents over rationing than in the film’s more overt supernatural elements.

Unfortunately, the film seems aware that its characters deserve better material than what they receive. Dialogue often falls flat, and character decisions feel contrived to advance the plot rather than arise organically from their personalities. The mythology surrounding the creatures lacks the weight the film aspires to convey. A more nuanced version of this story could have trusted its actors and the central metaphor of isolation, but this film does not quite achieve that.

Additionally, I can’t help but notice how the film deliberately taps into lockdown-era anxieties without offering a truly fresh perspective. The experience of being confined indoors with loved ones, watching resources dwindle, and feeling one’s sanity fray should resonate deeply, especially in light of recent events. However, the execution here opts for superficial unease rather than a lasting impact once the credits roll.

By the time the family finally escapes their confinement and the narrative shifts to an adult Ruth reflecting on past events, I was more eager for the conclusion than emotionally moved by it. There’s a solid survival drama hidden within ‘The Last House,’ supported by two actors who give more than the script demands. Yet, the final product prioritizes a competent atmosphere over the specificity that could have made this family’s ordeal truly memorable.

6 out of 10.

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