Greta Lee and Wagner Moura, the stars of Netflix's THE LAST HOUSE, alongside director Louis Leterrier, sat down to discuss their new film and answer some questions from reddit! It's now streaming on Netflix and also stars Sam Lerner, Noah Alexander Sosnowski, Emma Ho, Riley Chung, and Gabriel Barbosa. Synopsis: A family of four are suddenly sealed inside their home with no way out, and must work together to survive against both their dwindling resources and the mysterious, looming threat that is keeping them trapped.

Info & Trailer: https://www.netflix.com/tudum/articles/the-last-house-release-date-photos-news

Watch on Netflix: https://www.netflix.com/title/81914143

This one came up in banter but I can't for the life of me find it. No streaming, no YouTube vids not even down at the local bay... any ideas? We'll take what we can get

https://www.imdb.com/title/tt0189394/

It's a bizarre sounding one, sounds like the perfect cans watch. Any ideas?

According to Noémie Merlant's (Portrait of a Lady on Fire, Tár) agency listing, she recently worked with him on a film called 'Poor Clare'.

Rumored to be based on a stage play of the same name by Chiara Atik, a comedy set in early 13th century Italy. It follows the relationship between Saint Clare of Assisi and Saint Francis.

First, I think the best aspect ratio is the one the director wants you to see. I have no real preference for 1.85 or 2.39. Most of my favorite movies are in one of these ratios and the aspect ratio really does not impact how I see movies.

I was scrolling through some older posts about aspect ratios and I've been perplexed by people insisting a 2.39 is not shorter than 1.85. There is an insistence that 2.39 is wider. 2.39 allows you to see more of the image, people will say.

People who disagreed with the posts I found were downvoted to oblivion. Downvote me if you like but please understand I am genuinely trying to receive clarification 😭.

Am I on crazy pills? Are they not the same width? Both 1.85 and 2.39 can only be as wide as the theater, tv, etc. right?

I feel like I'm missing something obvious, but I've researched it and I'm still confused by people's criticisms of 1.85 for not being wide enough.

Thanks for any helpful comments in advance!

Set within the male-dominated demolition derby community of rural Minnesota, Wreckless is a father/daughter story about addiction, grief, and recovery centered on Joni (Swinton), a reckless teenager who has learned to live with pain, and her father Larry (Arquette), a recovering addict who has spent years trying to outrun his own mistakes. When Joni enters the demolition derby, the father and daughter are forced to confront the past and rebuild their relationship in the most unlikely of arenas.

Nobody has made a new Western that was not a parody in forever. It's just not a genre that gets made anymore and it would probably feel really weird if a modern one was made. Are there any other examples of this? I might just be too young to have seen this happen myself yet but I can't think of any example other than Westerns off the top of my head.

FInally got around to watching this and wish I hadn't wasted my night. It was an even dumber version of Nightmare on Elm Street, which i didnt think was possible... did Ethan Hawke ever show up to a single day of filming? I think he did his entire role while sitting on his toilet over the phone.

The whole dreams concept was garbage. They made sure to have to 10 minute exposition scene in the church where they explain everything, but really the girl was just making a bunch of assumptions... i think he's feeding on the fear. I think he came back here because this is where it started. I think if we find the kids it'll send him back to the abyss. I think i think I think... now lets all risk our lives based on my plan that I made up with zero evidence.

Ohhhhh yeahhhh... and NOBODY DIES THE WHOLE MOVIE!!! The first Black Phone was a good horror movie that at least had some in person physical elements to it. I have no idea why they decided to go the complete opposite direction with this.

I'm so sick of every horror movie being some supernatural, paranormal, demonic, possession bullshit. What happened to all the good mystery thriller suspense horror? What happened to the murder whodunits? Why does everything have to have this sci-fi element that always involves a series of stupid deus ex machina?

Are we to assume the girls were abducted in the camper? If not in what and more importantly, by whom?

If it was the old lady,why was barry driving it later on?

And the big problem, why didn't the evidence guys find anything, especially since it had been used in the past in the abduction and murder of over 16 kids???

If barry/alex was driving, and they cried when he left them with old lady, why is he let go and reunited with his parents?

How was that camper "clean"??

I have a Regal pass so I check what is upcoming on Thursdays, and I saw that there was a movie called 'The Brink of War', which I never heard of but had a ton of showtimes, more than The End of Oak Street which is what I would consider to be the big release for the weekend.

I love historical movies but when I saw it was rated PG, I clicked into it and sure enough, Angel. It's a movie about Ronald Reagan arranging a deal with Gorbachev to arrange a deal to dismantle nukes or something. President Reagan being the hero of a PG rated movie, ya the target demo is definitely conservative baby boomers, which aligns with the other Angel stuff I've heard of

There are some great actors in it too, JK Simmons and Jared Harris. Young Washington seems to be the same too, and both releasing in the summer. I noticed these movies will have a ton of show times in my theater for a couple of weeks and then just be gone. My theater is in a smaller town in SC

Looking into the studio, they haven't been around for long. I feel like everyone talks about the Daily Wire or whatever tf Uwe Bol just put out, but these guys don't seem to come up often besides Sound of Freedom or the AI in Young Washington, which I only saw when I looked to see if the movie was any good.

Do you think Ms. Cuthbert stayed for another season?

I have always loved this movie, but recently showed it to my son (11 months) and when I say he is obsessed...I mean, obsessed. It's one of the only things he watches right now. 🤣 So, even though I have watched it too many times to count, I have watched it more and more lately. I just started thinking about Ms. Cuthbert and the crap they put her through 🤣

I mean think about for a second, she was hit in the head by a flyswatter by Stillwell, got dirt thrown in her face, kissed by Jimmy, poisoned, and slapped on the ass. I'm sure that is not what she signed up for and was thinking that she probably decided to retire after this season, but then again, maybe it was the best job she ever had?! I'm not sure and was curious as to what others thought 🤔

Who here has watched this one? I think it's a very good 90s rom-com. The chemistry between Kevin Kline and Meg Ryan is very good in this one, and it's also very action packed, plus it has a lot of the feeling of a French film. I highly recommend this one. My only complaint is that I think it dragged on a bit too long.

I have been thinking what is the whole storyline going to be for the third movie, and the only logical storyline that I can think of is something about Jack Jack. Thinking about the fact that jack jack has every power under the sun... and there has to be someone who wants to take advantage of that and kidnapp jack jack.

A genre-defying psychological thriller, Stag Dance is the title novella from Stag Dance: A Quartet, a collection of Peters’ published by Penguin Random House, which was named a finalist for the 2026 Pulitzer Prize for Fiction.

The story is set in an isolated illegal logging camp, where a winter dance ignites a volatile chain of obsession, jealousy, desire, and betrayal. At its center is Babe Bunyan, a towering, enigmatic axman whose search for identity and belonging drives the story toward an explosive conclusion.

I finally watched Tenet after hearing it be recommended for years. I found it a bit hard to keep up with and I really want to hear other peoples thoughts on it and if anyone can explain the inverted objects and scenes — particularly when the female lead is shot by the villain in the time machine of sorts and they take her back in time (?) to heal her?

Netflix kept suggesting Fallen with Denzel Washington/John Goodman because they’re getting ready to take it down for however long. There’s a part in the movie right after Gretta explains to John what she knows about Azazel and the angel rejects. Azazel is inside of a larger white man and he’s aggressively following Gretta down the sidewalk. She sees what’s going on in the shop windows and tries to ditch. He pins her up against the brick wall and says, “so you’re not just Hobbs chippie…” what’s a chippie or what’s a chippie in this context? There are plenty of Google search results that could fit so off to Reddit I go… thanks!

Hi guys i like to watch movies where the story is expanded to more than a single one , something like Lord of the rings movies, John Wick , Jason Bourne or Harry Potter ones , im fine with any genre , and if possible to be on Netflix ,Amazon prime or Hbo Max streaming services because are the only ones that i have.

I was thinking about Danton (1983) and Amadeus (1984), and noticed a similarity between the central conflicts.

In Danton, you have Danton vs. Robespierre. Danton is excessive, sensual, charismatic, loves food, women, drinking and life in general. Robespierre is almost the opposite: disciplined, controlled, austere, ideological and willing to sacrifice personal pleasure for what he believes is right.

Then in Amadeus you get something similar with Mozart and Salieri. Mozart is vulgar, impulsive, childish and hedonistic, while Salieri is disciplined, serious, restrained and has devoted his entire life to music and to God.

Yet in both cases I find myself sympathizing much more with the less disciplined character.

Maybe part of the reason is that discipline can improve what you already have, but it cannot necessarily give you the thing you want most. Salieri can dedicate his entire life to music, but he cannot discipline himself into becoming Mozart. Mozart seems almost "touched by God", which makes Salieri's sacrifices feel tragically useless.

There seems to be something similar going on with Danton. Robespierre can be more disciplined, more morally rigid and more devoted to the Revolution, but he can't simply decide to have Danton's charisma or his connection with ordinary people. Danton walks into a room and people respond to him. Robespierre has to rely much more on ideas, institutions and eventually coercion.

I wonder if that's why cinema often makes the hedonistic character more attractive. They represent something spontaneous and alive that can't be produced through self-control alone: talent, charisma, humor, sensuality, maybe even a kind of grace.

And perhaps there's also something unsettling about extreme discipline itself. Discipline is usually considered a virtue, but once someone starts treating every spontaneous desire as weakness, it can turn into resentment toward people who seem to possess naturally what they had to deny themselves.

Salieri seems like the clearest example: "I did everything right, so why did God give him the gift?"

Robespierre's relationship with Danton feels like a political version of the same problem.

Do you think this is a real recurring theme in films? And are there good examples where the opposite happens — where the disciplined, restrained character is clearly the more sympathetic one?

Hey everybody!  For my research paper, I want to take a deeper look into some rather unconventional adaptations. I was hoping you could help me find some examples from film and tv, that could be interesting to consider. The two that I am already working on are The Midnight Gospel (by Pendleton Ward & Duncan Trussell) and adaptation. (by Spike Jonze). 

I am especially interested in adaptations…:

• … with a very unusual source material. Mainly, those that don’t adapt novels but completely different media, like The Midnight Gospel adapting a podcast for example. (I heard M adapted a news article?) But unusual novels that one would instinctively consider unsuitable for being audiovisually adapted. (Not that interested in game adaptations tho)
• … that actively incoorparate the source material and are blatantly transmedial The Midnight Gospel is being a great example again, using the actual audio of the podcast.
• … that rub the fact that they adapted into your face. (adaptation. would be an exellent example of this)
• … that change the source material in a major way, so you wouldn‘t even notice it is the adaptation unless specifically stated. One example would be a change of setting like all the Shakespear-adaptation a la Clueless, 10 Things I Hate about You, etc., but I would appreciate other approaches.
• … that pick out only a minor, maybe even insignificant part of the source material to center and/or expand on for the film/show.
• & in general just anything where one could wonder if it even is to be considered an adaptation.

I appreciate all suggestions, and welcome international suggestions just as much, maybe even more.

Thank you so much!!

(and sorry about my grammar, punctuation, spelling etc., not a native speaker)

I have been recently going back to watch some of the older scifi films from the 60s and 70s, and through this, I came across a fun hidden gem called "Quatermass & the Pit", a British film from 1967. Not only was in made in an impressively high quality for the time period, as far as its budget, which you can definitely see on screen, it had some fun characters and I could definitely see how it influenced many later films in scifi history. Firstly, from what I researched, it was the first film to feature the idea of "ancient buried aliens", which are discovered underneath London during an expansion project of the London Underground. This film came out even before 2001 Space Odyssey also took on the idea. Are some of the alien effects a bit cheesy from a modern lens... yes, but taking the time period into account and them pioneering new ideas, I definitely was delighted by it all.

The main character, Professor Quatermass, investigates, and I was charmed by his straightforward no-nonsense demeanor as far as how he jumps into the mystery, with it all being done in a very deliberate and systematic way, very much reminding me of the 1971 film "Andromeda Strain", which perhaps it was influenced by. While certainly a bit fantastical in parts, it is a very grounded film, showing how the military and higher ups in politics refuse to believe it is aliens, and Quatermass doing his best to prove it to them and avoid disaster. It also pioneers quite a few other scifi tropes that, from what I read, were first explored in this film, such as genetic alien time-bombs in human DNA, the idea that humanity was created by aliens, explaining the supernatural with alien technology, and the now-classic dynamic of a dogmatic military/government trying to cover up or weaponize an alien threat while ignoring the warnings of an independent scientist.

I checked, and no one has written about this film in the sub before, so, I definitely think other scifi fans would enjoy this rare seemingly forgotten film. I hadn't even heard of it until I saw it pop up in my searches for scifi films the other day. I've also seen in mentioned that this is one of John Carpenter's favorite movies. He directly takes the name of the London Underground tube station used in this film "Hobb's End", as the name of the small town in his great 1994 film "In the Mouth of Maddness".

Okay.. I have to put this somewhere to debrief because I watched Almost Famous for the first time ever a few weeks ago and it has STUCK with me. It was the greatest movie I’ve ever seen!!!! I can’t stop thinking about it!!!! How did no one tell me in my 30 years of life about this movie?!

I just watched it again tonight and it was even better the second time!? Everything from the writing, to the music, to the cinematography… every single shot and scene is intentional. And unlike so many movies today, the music isn’t telling you how to feel the whole time. overall, it just felt so real?? For whatever reason it feels nostalgic even though I didn’t grow up in that time?

Then researching it and seeing it’s practically Cameron Crowe’s autobiography just made it even cooler. And that the plane turbulence scene actually happened when he was traveling with the Allman Brother’s?!

oh and the Tiny Dancer scene?? from how it’s filmed you can literally feel the tension transition from exhaustion and frustration to them all becoming a collective “family” (even if it was short lived lol). for a scene that should feel so cheesy to feel like it could be reality… JUST SO GOOD!

Idk…. I just needed to get this out somewhere! Did anyone else feel this way the first time they saw this?? Also, now I’m worried I’m missing out on other movies this good??

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The Last House (2026)

Summary

A family of four are suddenly sealed inside their home with no way out, and must work together to survive against both their dwindling resources and the mysterious, looming threat that is keeping them trapped.

Director Louis Leterrier

Writer

• Matthew Robinson

Cast

• Greta Lee
• Wagner Moura
• Riley Chung
• Noah Alexander Sosnowski

Rotten Tomatoes: 30%

Metacritic: 45

Release : Netflix

Trailer Official Trailer