Netflix's new film, 'The Last House,' attempts to capture the experience of the COVID-19 quarantine but ultimately falters due to a nonsensical plot that overshadows any meaningful commentary. The movie, which began streaming on Friday, stars Wagner Moura as Jason and Greta Lee as his wife Ann, a couple trapped in their home with their two children.
Directed by Louis Leterrier and written by Matthew Robinson, the film opens with Jason returning home from a fishing trip just as a storm hits. Upon trying to leave the house for Christmas tree shopping, the family discovers that all doors and windows are inexplicably sealed shut, with no way to break them or escape. With no internet or phone service, they are cut off from the outside world and confined to their home for months, which eventually stretch into years.
Initially, 'The Last House' touches upon themes relatable to the 2020 lockdown. The family finds ways to pass the time, listening to records, rewatching DVDs like "Annie" and "Air Force One," and spending more time together. There's a brief moment where the film reflects the duality of the lockdown experience – the feeling of being trapped and helpless, coupled with the opportunity to slow down, consume art, and connect with loved ones. Lee's character even remarks to her husband, "You like this. It’s like, in a weird way, you’re happier in here than us."
However, this early resonance quickly dissipates when the plot introduces deep-sea creatures responsible for causing saltwater rain and trapping humanity. This element completely derails any attempt at a coherent COVID-19 lockdown analogy. The film abandons its thematic exploration of quarantine and instead introduces a half-baked message about non-violence in its final scenes.
Numerous plot holes further detract from the film's narrative. Viewers are presented with a hand-crank radio that inexplicably transmits video without any power or signal, and a fire that burns underwater. Situations escalate arbitrarily, such as the house flooding during a monster battle, only to drain inexplicably when no longer convenient for the scene. These inconsistencies, coupled with a visually unappealing presentation, make the film an unengaging watch.
Despite strong performances from Moura and Lee, they are unable to salvage the clichéd dialogue and the ultimately incomprehensible plot. 'The Last House' fails to provide either an entertaining or meaningful reflection on the shared trauma of the 2020 lockdowns, leaving viewers with a film that is neither enjoyable nor insightful. For those seeking a film that addresses quarantine experiences, the 2024 comedy 'Stress Positions' is suggested as an alternative.