La colline a des yeux

On a road-trip through the New Mexico desert, a family stranded in the area finds that a group of inbred, cannibalistic hillbillies have targeted the group and are set on killing them for food, forcing the family into a desperate race to stop them and get away alive.

This here was quite the fun if slightly flawed effort. When this one works, it's mainly due to the fact that there's quite an effective atmosphere here of being out alone in the wilderness. The film does an incredible job in the first half of depicting the desert of this one as creepy and chilling which really makes it so that being trapped on an open road in the middle of nowhere is a pretty terrifying ordeal and forces the ultimate traveling nightmare. The darkness that surrounds the family is terrifying, as anyone or anything can hide in there, and this film provides that fear in spades as tons of times we see or hear all these sights and sounds that would terrify any sane person. That gets exemplified best in the one scene of the characters run down the highway in the dark as these crazy laughs were heard echoing alongside him, a pretty terrifying ordeal, and it only gets better from there. That comes from the rather impressive event that kick-starts the film into overdrive which is the main assault on the van as the family gets into attacking the trapped members during an insanely fun ploy here, as the mounting tension plays into the initial first trap before the charge into the van and all the battles to confront them attempting to escape as well as one of the most horrendous acts ever committed to screen, and the audacity to pull it off and make it as striking as it is a huge testament to do something like that. By subjecting us to this scene, it works to keep the audience on the edge because now we don't know what else will be thrown at us and become anxious as the waiting game begins. The best part is the events that follow as the film is all action featuring plenty of solid action as the brutal encounters offer a lot of great moments. Also great is the family has a creepy air around them that makes us all become scared of them, and along with their great behavior patterns are the best parts. It doesn't have too many flaws here as the main issue is the illogical manner of getting them on the shortcut which really makes no sense and features plenty of stupid character decisions to move them along. There's also the manner of the rather sloppier effects for the gore and kills which does take away a bit of their effectiveness. Otherwise, this is quite an enjoyable effort.

Rated R: Graphic Violence, Graphic Language, attempted rape, violence-against-animals and children-in-jeopardy.

Wes Craven's second film is well-crafted and frightening to say the least. LAST HOUSE ON THE LEFT was more realistic (almost too much), but this perfect drive-in movie leaves you wanting more. It must have been an unbearable shoot. Check out the 2-disc DVD.

A definite 7 out of 10 with Michael Berryman giving the best performance. Perfect locale in these California mountains that is scarier than the Bates Motel. Great cast with all unknowns. Dee Wallace was quite touching as the young mother and the old Grandpa Fred in the beginning was authentic to the max! Even if you're not a big horror fan, you should check this out late at night. Wes Craven has a good eye and feel for blood relations!

Wes Craven is a director who did a lot to revive interest in the horror genre, but he also did a lot to ensure that we were unlikely to get our horror the way we used to. While I personally have nothing against his mega-successful "Scream" franchise and have enjoyed both films immensely, I feel sad knowing that Craven will never be able to recapture the awesome low-budget effectiveness of his earlier works. He has developed his directorial skills a LOT since then, but any horror fan will tell you that slicker does not necessarily mean scarier. Now that Craven has successfully broken free from the genre that has provided him with a living for over a quarter century (and has moved on to directing inspirational films with Meryl Steep!), we will never see another film like his "The Hills Have Eyes", which is raw, intense horror at its best. The film doesn't quite have the same impact as Craven's earlier "Last House on the Left", but it is a more skilful piece of work, and is still one of the most frightening genre flicks ever made.

Like all great horror films, the plot requires very little description. The upper-class, white-bread Carter family are on a road trip to California and decide to take a detour through the desert to check out a silver mine that the parents received as a silver wedding anniversary gift. They ignore the warnings of a crazy old man they encounter at a gas station who warns them to stay on the main road, and end up wishing they'd listened to him after their trailer becomes trapped in the middle of nowhere with a broken axle on the car. It soon becomes apparent that they've stumbled into an area that is populated by a family whom the Carters would never have to worry about encountering back home in Cleveland. The members of this family are named after planets in the solar system (Jupiter, Mars, Pluto etc.) and are able to survive life in the desert by praying on unsuspecting travellers like the Carters. After a night of unbearable hell, the Carter family has lost some of their members and most of their supplies and decide to take revenge once daylight hits. They end up acting more violent and psychotic than the villains.

Not even David Lean has used the desert to better effect. Craven's direction here is top-notch, and does a terrific job at conveying the isolation of his location and the helplessness of the whole situation. He takes his sweet time building up the mutant family's attack on the Carters, so that the tension almost becomes unbearable. By the last act, the film is less concerned about the heroes finding their way out of the desert, but about whether or not they are going to end up stooping to the level of their enemies. Of course, these themes of vengeance and family were covered by Craven before in "Last House on the Left", but this time around, he ensures that they will reach a wider audience by presenting them within the confines of a more straightforward genre film. The main factor that prevents this film from being superior to "Last House" are the villains, who are somewhat cartoonish and not quite as memorable as Krug & Company. However, they still do provide plenty of menace, and like the "Last House" gang, exude a certain likability when they're not acting vicious, especially Michael Berryman, who steals every scene he's in as the dim-witted Pluto. All in all, "The Hills Have Eyes" is an unforgettable experience and one of the best films of its kind. Even though videotape copies of "Hills" have been in the darkest depths of moratorium hell for years, every horror fan should go out of their way to check it out. Especially since we just don't get them like this any more...

Despite being close to thirty years old, Wes Craven's "The Hills Have Eyes" maintains a distinct raw intensity - far surpassing the level of terror seen in horror films today. The plot in a nutshell; a family on vacation ventures from the main road, ends up stranded in the desert, and falls prey to a malevolent clan of inbred cannibals. Though the story idea may be far from original - it is the atmosphere, directorial style, and acting that raise the overall credibility of the film. The low budget and claustrophobic desert setting creates a sense of dread permeating throughout the entire film; while the grainy look of the print adds a sense of realism to the unfolding events. With a brisk running time of only 89 minutes the film doesn't waste a moment in setting the mood - then when all hell breaks loose it is unrelenting until the final scene. The actors portraying the Carter family bring sufficient emotional range to their characterizations, making it clearly evident that this a normal family being tested beyond the boundaries of civilized nature. It is also worth noting the performances by the actors who play Pluto and Mars (two of the baddies) - these characters are portrayed as both sadistic and devoid of any sympathy. Although the DVD print is grainy (as mentioned above), it is THE definitive version of the film and is thousands of times an improvement over the quality of the video release; quite amazing for a low budget film of this nature. Grim, violent, and symbolic; it is an amazing piece of 70's exploitation horror. "The Hills Have Eyes" is a classic in every sense of the word, and receives an 8/10.

Wes Craven's 'The Last House On The Left' is a horror milestone. It's a very crude and uneven movie, but still for me a very powerful one. It contains some scenes that are still extremely intense and disturbing, and that have rarely if ever been surpassed in subsequent horror movies. I don't known if Craven is embarrassed by it or what, but he seems to have distanced himself from it in his subsequent career. He went on to make several movies that were much more commercially successful, but were a lot tamer and much more viewer friendly. 'The Hills Have Eyes' is almost a transitional movie, the beginning of the slow journey from "old" Craven to "new" Craven. Compared to 'Last House...' it's a walk in the park, but alongside say the 'Scream' trilogy it looks the Manson family's home movies! Craven was still working with a very low budget compared to the mainstream, but for him it was a big step forward from 'Last House...' the results are not as shocking and confronting but it's a lot more consistent and technically more efficient, so I can understand why some horror buffs regard this as his best movie. Personally I find it difficult to choose between the two. The story concerns a family on a road trip looking for a silver mine they have acquired. There's Dad (Russ Grieve) a retired cop, Mom (Virginia Vincent), and three kids - Brenda (Susan Lanier), Bobby (Robert Houston) and Lynne (Dee Wallace). Also along for the ride is Lynne's husband Doug (Martin Speer) and their baby. Despite warnings from a local old coot (John Steadman) they stray from the main road and soon find themselves stranded in the desert. Little do they know that Jupiter (James Whitworth) and his cannibalistic clan, which includes sons Mars (Lance Gordon) and Pluto (Michael Berryman) have sniffed them out and are miiiighty hungry! Craven manages to create a lot of tension in this movie, the "normal" family are realistic and convincing, especially when things begin to fall apart, and Jupiter, Mars and Pluto are three fantastic baddies. Michael Berryman really capitalizes on his naturally odd looks (the results of multiple birth defects), and steals every scene he's in. Of all the cast Dee Wallace went on to the highest profile career ('The Howling', 'Critters', 'E.T.' etc.), but this movie made Berryman into a horror icon. James Whitworth is also terrific, and Lance Gordon gets THE line of the movie ("Baby's fat. You're fat... fat and juicy."), but Berryman outshines them both in the same way that Krug (David Hess) dominates his gang in 'Last House...' I like this movie a lot. I don't think it's as impressive as 'The Texas Chainsaw Massacre' or 'Dawn Of The Dead', but it still deserves a place among the best of 1970s American horror, and should be watched by anyone with an interest in the genre. If Craven had retired after the double punch of 'The Last House On The Left' and 'The Hills Have Eyes' he would be a horror legend. Unfortunately he didn't, and went on to be involved in some very lame movies (especially the sequel to this which should be AVOIDED AT ALL COSTS!) This decision has obviously proved to be very financially rewarding for him, but it is one that will forever divide horror movie fans.