Wes Craven’s 1972 shocker “The Last House on the Left” pushed so many emotional buttons with its tale of rape and revenge that the movie trailer suggested viewers “keep repeating to yourself – it’s only a movie.”

Nearly 40 years later, Hollywood seems to have pushed every button there is left to push.

The new “House” proves otherwise. The film, part of the remake mania sweeping the industry’s horror factory, features a rape scene sure to be dissected for weeks, even years.

But it’s only part of a brutal and absorbing thriller that may make audiences cheer as they did with the recent sleeper hit “Taken.”

“House” stars Sara Paxton as Mari, an innocent teen looking to have a little not so innocent fun with her friend, Paige (Martha MacIsaac, a real spitfire). The duo hook up with a blank-faced stoner named Justin (Spencer Treat Clark) who has some pot for them to buy.

But before they can toke up they meet Justin’s entourage – a trio of killers on the lam led by Krug (Garret Dillahunt, a not so poor man’s Timothy Olyphant).

The next 20 minutes is pure torture, both for the girls and the audience. It takes Craven’s template and beats it about the face and neck until it can’t cry out any more.

Even horror veterans will be shocked by the content, and it’s hard to defend some of the visual choices made here by helmer Dennis Iliadis.

Then, the story switches into revenge mode when Mari’s parents enter the equation.

“House” could have been another ’70s horror remake – stilted, bloody and artlessly shot. But Iliadis is on to something here. He coaxes raw but realistic portrayals from Mari’s onscreen parents (Monica Potter and Tony Goldwyn) and his revenge saga registers precisely because we come to care about poor Mari.

Just wish the camera wouldn’t linger so lecherously across her young, nubile frame.

“House” eventually succumbs to WWE histrionics, where the leads and the villains absorb more punishment than anyone could survive and keep on keepin’ on. But audiences will be so invested in the story by then that they’ll forgive such depraved excess.

Just skip the film’s final minute – it’s a silly, deranged grossout that betrays the characters set out before you.

(Photo: Monica Potter and Tony Goldwyn gear up for battle in “The Last House on the Left.”)

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