Official Rotten Tomatoes score lands for Netflix’s 'The Last House'

Netflix has dropped some fairly bombastic titles in 2026 already—if you like your films packed with gunfights and things grimly exploding, you’ve probably lost an evening to Apex (Charlize Theron vs the actual outback) or watched Cillian Murphy dust off his Peaky Blinders flat cap in Peaky Blinders: The Immortal Man. Their latest bit of high-concept horror, though, takes "trapped in a house" to a whole different level. This one’s called The Last House.

Directed by Louis Leterrier, it stars the Delgado family. (No, not a real lot—fictional family; don’t start looking for their Instagram.) Their home turns out to be less of a sanctuary and more of a science experiment gone wrong. Imagine if someone merged a panic room, HAL 9000, and a Kubrick lighting budget.

The Last House made its debut on Netflix in June 2026, quickly drawing both strong viewership and immediate reviews.

Traps, Tech and Panic

The premise: one minute you’re enjoying a normal suburban dinner, the next every door and window in your house decides (independently) to refuse leaving or entry. As for the antagonists, it’s unclear if you’re fearing malevolent A.I., the government, budget hackers, or all simultaneously. The tone is classic Netflix post-pandemic nightmare fuel: tech paranoia mixed with claustrophobic set design. Some viewers are apparently reminded of Cube and Panic Room, but with fresher carpets and anxiety-induced voice commands.

Who's In It, Anyway?

• Louis Leterrier directs (the bloke behind the Fast X installment and half the modern heist films on telly).
• The cast: The main faces are Ingrid Oliveira playing the Delgado matriarch, Ismael Cruz Córdova as her husband, and two teens who seem more interested in their phones than saving the family (until anyone brings up Wi-Fi).
• No A-list Hollywood twang, instead, a bit of indie flavour and, thankfully, minimal awkward Oscar-bait monologues.

Early Reception: Worth the Hype?

Now for the bit everyone actually wants: is it worth spending your Friday night on, or should you leave it to tumble down the Netflix algorithm?

Rotten Tomatoes scores are already live, and, as usual, the response is polarising. Critics praise the high-tension pacing, the production design, and the performances—especially Oliveira. Some were a bit cold on the ending, calling it 'ambiguous' (i.e. either arty or they ran out of runtime). Audience reactions? All over the place. For every rave about Leterrier’s kinetic style or a particularly relentless kitchen sequence, there’s a one-star review from someone traumatised by their last Alexa update. The consensus: it’s flashy, relentless, and very now, but won’t be for everyone. If your smart speaker gives you existential dread, maybe don’t watch it alone.