“The Last Exit” isn’t the most evocative title for a home invasion thriller. But “Little Bone Lodge,” the earlier release label on this Joely Richardson genre picture, might have been a tad too on the nose.

It’s a solid “You don’t know what I’m capable of” story of hoodlums who picked the very worst place in the middle of nowhere, Scotland, to bust into after a heist gone wrong. It plays around with a theme explored in many a home invasion predators-become-prey tale — David Hyde Pierce’s “The Perfect Host” and “Don’t Breathe” are examples that leap to mind.

Richardson stars as Mama, a woman who runs a remote sheep farm with her doted-on daughter Maisy (Sadie Soverall of “Saltburn”), taking care of her invalid, mute husband (Roger Ajogbe) in the bargain.

There’s something a little “off” here. You can see it in the eyes of the heavily-medicated husband and a few other “tells.”

And there’s something off in the screaming, pleading way a stranger (Harry Cadby) frantically pounds on their door on a pitch-dark night. His weeping answers to Mama’s “What are you doing all the way out here?” don’t allay suspicions.

But she opens the door and lets the weeping, troubled and “simple” young man drag his bleeding friend in. There’s a an impaling puncture wound, an “accident,” he says. Lucky for him Mama knows her way around pulling out a piece of rebar, stopping bleeding and sewing “Jack” up.

Teenage Maisy is filled with questions which wary Mama can’t stop her from asking, even after Jack (screenwriter Neil Linpow) comes to and starts eyeballing the place, and rummaging through the duffel bag hysterical Matty (Cadby) brought with them.

Jack needs a to make a call. Like NOW.

“No reception here. No phone. No TV. No computer.”

Jack’s insistence that Mama accompany him back to the road where their car crashed triggers a tense negotiation. Yes, he’s been impaled. But he’s wild-eyed enough to alarm anybody. Maisy doesn’t seem afraid. But Mama?

“You don’t know my life,” she hisses. Jack and we don’t know what she’s done, what she’s capable of. But we can guess, even if he can’t.

That’s a shortcoming here, the script and the performances’ failure to truly misdirect us from what we figure is headed our way.

“Jack’s “You ain’t gonna like what you’ve made me do now” doesn’t make Mama blink. Mama’s “You touch my daughter and I’ll kill you” is a lot more alarming.

The violence, when it comes, it hard to rationalize, given Jack was passed out from the loss of blood because he was IMPALED. The story beats — other “visitors,” complications, back story, alliances forming — are familiar, manipulative and yet more or less pay off.

Richardson is fierce, Linpow is vile, Cadby is a varying degrees of hysterical as a classic “criminal savant,” a simpleton badgered and brainwashed into crime.

Director Matthias Hoene cranks up the narrative and action to “over the top” too early, and aims even higher for the finale.

I can’t say it all works, but “The Last Exit” pulls you in and slaps you around a bit before it’s done. Not all that, but not that bad, either.

Rating: R, graphic violence, profanity

Cast: Joely Richardson, Neil Linpow, Sadie Soverall, Roger Ajogbe, Cameron Jack and Harry Cadby.

Credits: Directed by Matthias Hoene, scripted by Neil Linpow. A Saban Films release on Tubi, Amazon, etc.

Running time: 1:33