--- title: "The Last House" year: 2026 kind: "film" canonical: "https://film.one/film/the-last-house" fi1m_id: "the-last-house" imdb_id: "tt32268156" tmdb_id: 1284041 wikidata_id: "Q129165193" fi1m_score: 54 critics_score: 52 critics_reviews: 12 published: "2026-09-22T21:11:19.992528+00:00" updated: "2026-09-22T21:11:30.896760+00:00" region: "PH" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Last House (2026) Directed by Louis Leterrier · 1h 50m · MTRCB R-13 · Horror, Science Fiction, Thriller ## Identity The Last House - **Canonical:** https://film.one/film/the-last-house - **Type:** Film - **Fi1m ID:** the-last-house - **IMDb ID:** tt32268156 - **TMDB ID:** 1284041 - **Wikidata ID:** Q129165193 - **Same entity:** https://www.imdb.com/title/tt32268156/, https://www.themoviedb.org/movie/1284041, https://www.wikidata.org/wiki/Q129165193 **Fi1m score: 54** · Critics 52 from 12 reviews *In a sentence:* Lockdown with monsters, which turns out to feel much like lockdown without them > Louis Leterrier shuts a family in a house and, for the best part of an hour, trusts that to be enough. It is. Then the film shows us what is outside, and a patient domestic thriller becomes a routine monster picture with a hurried ending. ## Synopsis Ann (Greta Lee) and Jason (Wagner Moura) live in a house with their two children, Ruth (Riley Chung), who is eight, and Graham (Noah Alexander Sosnowski), who is twelve. One day something outside makes it impossible to leave, and nobody can tell them what it is or when it will end. The family take stock of what is in the cupboards, ration what they have and try to keep the children to a routine while the world beyond the front door goes quiet. Jason improvises; Ann keeps count; the children ask questions their parents cannot answer. The film follows the household through the first days of confinement and then through the years that follow, with Ruth and Graham recast as they grow older behind the same walls. ## Review Louis Leterrier’s *The Last House* asks the question on its own poster, “How long can you survive?”, and for about forty minutes it is a decent question. Matthew Robinson’s script puts a family of four in a house, shuts the door on them and lets them work out what is left in the cupboards. It is plainly about the lockdown years, and it has the sense not to say so aloud. Then the film decides that a family in a house is not enough, and what it adds is a good deal less interesting than what it had. Greta Lee plays Ann as the one who keeps count, and she lets the dread show through the arithmetic rather than around it. Wagner Moura’s Jason is the fixer, cheerful for the children and less so once they are asleep, and the two of them are good enough that the first act works as a study of a marriage under pressure. Riley Chung and Noah Alexander Sosnowski play Ruth and Graham as children who treat confinement as a game until they do not, and the scenes where they stop are the best small things the film does. Kevin Jenkins’s production design does much of the real work. The house fills up slowly with the evidence of making do, and the years show on the rooms before they show on the children. Pål Ulvik Rokseth shoots almost nothing beyond the windows, so that the outside stays unseen and unexplained, and for a stretch that restraint holds. We were tense, more than we expected to be, through the passage where nobody knows what is out there and the film has the patience not to tell us. Yair Elazar Glotman’s score stays low and sparing there, and the quiet between the family’s routines is doing the frightening. The film’s boldest choice is time. Ruth and Graham are recast as they grow, Emma Ho and Gabriel Barbosa taking over the teenage years, and the idea of children growing up inside four walls is the one thing here that a more cautious film would not have attempted. Adam Gough cuts the jumps cleanly and without fuss. But Robinson’s script treats each new age as a fresh start rather than the sum of what came before, so a family that has been shut in for years arrives at its later scenes with no grudges, no secrets and no damage worth the name. That is where it lost us. We were bored, and then we were irritated about being bored, because the premise had earned better. Then there is what is outside. We will not say what it turns out to be, only that the film eventually shows it to us and that we wished it had not. The creature work is ordinary, the kind of thing the earlier reticence seemed to promise we would be spared, and once it is on screen the household stops being a pressure cooker and becomes a set. The final act is rushed. A 110-minute film that spent its first half asking us to be patient ends as though someone had shouted the running time from the next room. Leterrier is a director of momentum, with *Now You See Me* and [*Fast X*](https://film.one/film/fast-x) among his credits, and he handles the slow, watchful material here better than his record would suggest. The trouble is that the material rewards patience and he does not keep it up. Jane Petrie’s costumes tell the story of the years more honestly than the script does, the same clothes worn down and passed along, and it says something that a wardrobe carries more consequence than the dialogue. The reviews so far split almost evenly between people who liked the family and people who resented the monster, and we find ourselves in both camps. The 12 certificate is honest: this is horror for a household rather than a horror crowd, and the scares are mild. Watch it with someone you spent lockdown with, and consider stopping when the family stops being the point; you will know the moment. *Fi1m score 54, published 22 September 2026.* ## What the critics say The reviews split almost down the middle, and lean cool. Where critics agree is on the first hour: a family shut inside a house, working out how to eat, sleep and keep each other sane, and doing it with some ingenuity. The lead performances, chiefly Lee and Moura, are widely praised, as is the production design of the house itself. Several reviews say the film is at its best while the threat outside stays unseen. The reservations cluster on the third act. Once the creatures appear, most critics find the design unmemorable, the decisions silly and the ending rushed or abrupt. Several also feel the lockdown allegory is raised and then dropped. The spread is wide. Polygon is the outlier at the warm end, finding the family dynamics moving and comparing them to Spielberg; Vulture is the harshest, calling the film rudderless and empty. Most sit in the middle: watchable, forgettable, better before the monsters. ## Straight answers **Is The Last House worth watching?** *The Last House* is worth watching for its first hour, when a family shut in a house is all the film needs, and we scored it 54. Greta Lee and Wagner Moura make the confinement tense and specific, but once the film shows what is outside it becomes an ordinary monster picture with a hurried ending. Best for anyone who remembers lockdown and can forgive a weak final act. **How long is The Last House, and what is it rated?** *The Last House* runs 1h 50m and is rated R-13 by the MTRCB in the Philippines. It is a horror and science fiction film. **Where can I watch The Last House in the Philippines?** *The Last House* is streaming on Netflix in the Philippines. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Last House, and is it suitable for children?** *The Last House* carries a UK 12 certificate and the scares are mild: this is horror for a household rather than a horror crowd. The dread comes from silence and rationing rather than gore, and the creature, when it finally appears, is unremarkable rather than shocking. Suitable for older children and teenagers; younger ones may find the long quiet stretches more unsettling than the monster. ### Reviews we read (12) - **Empire**, John Nugent (70/100, inferred): The critic finds it a modestly diverting couple of hours with a fun premise of a family trapped in their home, but notes it goes off the boil in the third act with CGI monsters; praises the problem-solving ingenuity in the contained setting. [Read](https://www.empireonline.com/movies/reviews/the-last-house/) - **Variety**, Guy Lodge (70/100, inferred): The film succeeds as a claustrophobic domestic drama buoyed by empathetic lead performances and detailed production design, even as its sci-fi premise remains fuzzy and its thematic nods to climate change and community feel underdeveloped. [Read](https://variety.com/2026/film/reviews/the-last-house-review-1236828947/) - **The Guardian** (69/100, inferred): The critic finds it a solid but flawed Netflix post-Covid lockdown thriller that works best in its grounded family survival moments. They single out the relatable early makeshift togetherness and resourcefulness for praise while criticizing the unmemorable creature design and sloppy final act. [Read](https://www.theguardian.com/film/2026/aug/07/the-last-house-review-thriller-movie) - **The Hollywood Reporter**, David Rooney (65/100, inferred): The critic describes it as a psychological chamber drama and survival thriller about a family using wits and dwindling resources, praising Leterrier’s capable direction and solid performances from Lee and Moura. It is most effective while the threat remains unknown but slips when the creatures are revealed and the conclusion feels rushed. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-last-house-review-greta-lee-wagner-moura-netflix-1236666386/) - **The AV Club**, Monica Castillo (D+): The review faults the film for goofy monsters, silly character decisions, and failing to sustain mystery or suspense over time, though it notes some enjoyable scares and strong work from Lee. It ultimately recommends taking a rain check. [Read](https://www.avclub.com/the-last-house-review) - **The New York Times**, Ben Kenigsberg (40/100, inferred): The review posits that the film’s central question—how long one could endure such confinement—is more compelling than the movie itself, which depicts a frictionless, resourceful family persisting through the ordeal with little dramatic tension or deeper insight. [Read](https://www.nytimes.com/2026/08/07/movies/the-last-house-review.html) - **RogerEbert.com**, Brian Tallerico (20/100, inferred): The critic finds the premise intriguing but the execution shallow and forgettable, with insufficient character development, a lack of claustrophobia, and nothing meaningful to say about its COVID lockdown allegory or high-concept premise. [Read](https://www.rogerebert.com/reviews/the-last-house-netflix-movie-review-2026) - **Vulture** (10/100, inferred): The critic calls it a perfectly terrible, rudderless film that fails at characterization, scares, and intrigue, with bland direction, an anemic script, and no real exploration of its themes or people. It encapsulates mediocrity in contemporary American cinema. [Read](https://www.vulture.com/article/netflixs-the-last-house-is-a-perfectly-terrible-film.html) - **Polygon**, Aimee Hart (85/100, inferred): The critic lauds the film's depiction of a family's struggle to survive an inexplicable lockdown in their home, emphasizing the beautiful family dynamics reminiscent of Spielberg films. She singles out the strong characterizations and chemistry of the lead actors for praise. [Read](https://www.polygon.com/the-last-house-review-steven-spielberg-movie/) - **Film Stories**, Ryan Lambie (65/100, inferred): The critic calls it an okay monster movie that fuses the anxiety of the lockdown era with Lovecraftian horror in the vein of A Quiet Place. They single out the poignant family dynamics and post-lockdown themes for praise, while noting the film becomes more predictable once the monsters appear and ends abruptly. [Read](https://filmstories.co.uk/features/the-last-house-netflix-horror-thriller-mixes-lockdown-and-lovecraft/) - **The Wrap**, William Bibbiani (65/100, inferred): The critic finds the film neither fresh nor exciting but not bad overall, crediting its star power and skilled presentation for overcoming a contrived premise. The lead performances and director's pacing stand out as the main strengths amid storytelling contrivances and a forced feel. [Read](https://www.thewrap.com/creative-content/movies/the-last-house-review-netflix-wagner-moura-greta-lee/) - **NME**, Victoria Luxford (30/100, inferred): The critic finds the film a poorly conceived mystery with a payoff that isn’t worth the wait; it may provide some thrills for survival horror enthusiasts but it’s ultimately more sombre than scary. They single out the grim family melodrama and lack of ideas or character development after the initial setup. [Read](https://www.nme.com/reviews/film-reviews/the-last-house-review-netflix-greta-lee-wagner-moura-3961219) ## Details - **Director:** Louis Leterrier - **Director:** Louis Leterrier - **Writer:** Matthew Robinson - **Cinematography:** Pål Ulvik Rokseth - **Editor:** Adam Gough - **Music:** Yair Elazar Glotman - **Production design:** Kevin Jenkins - **Costume design:** Jane Petrie - **Producer:** Louis Leterrier, Kori Adelson, Oly Obst - **Cast:** Greta Lee as Ann; Wagner Moura as Jason; Riley Chung as Ruth (8 Years Old); Noah Alexander Sosnowski as Graham (12 Years Old); Emma Ho as Ruth (13 Years Old); Gabriel Barbosa as Graham (17 Years Old); Arden Cho as Adult Ruth; Audrey Anderson as Susan - **Runtime:** 1h 50m - **Certificate (MTRCB):** R-13 - **Release (the Philippines):** 7 August 2026 - **Genres:** Horror, Science Fiction, Thriller - **Trailer:** https://www.youtube.com/watch?v=MLxgaz2Zp1k ## Where to watch in the Philippines - Netflix: streaming *Checked 2026-09-22.* Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *10 Cloverfield Lane* (2016): Three people in a bunker, one of whom may be lying; the tension never lets up - *Pontypool* (2008): A Canadian radio station, an outbreak nobody can see, and dread built from sound alone - *Vivarium* (2019): A couple trapped in a suburb that will not let them go; colder and stranger than this - *The Mist* (2007): Strangers shut in a supermarket while something waits outside; Darabont keeps it human - *Time of the Wolf* (2003): Haneke’s unexplained collapse, seen through one family; no monsters, more frightening --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-last-house