Amazon.co.uk Review
Boasting an upgrade in production values,
The Hills Have Eyes should please new-generation horror fans without offending devotees of Wes Craven's original version from 1977. There's still something to be said for the gritty shock value of Craven's low-budget original, made at a time when horror had been relegated to the pop-cultural ghetto, mostly below the radar of major Hollywood studios. With the box-office resurgence of horror in the new millennium--and the genre's lucrative popularity among the all-important teen demographic--it's only fitting that French director Alexandre Aja should follow up his international hit
High Tension with a similarly brutal American debut to boost his Hollywood street-cred. Working with cowriter Gregory Levasseur, Aja remains surprisingly faithful to Craven's original, beginning with a bickering family that crashes their truck and trailer in the remote desert of New Mexico (actually filmed in Morocco), where they are subsequently terrorized, brutalized, and murdered by a freakish family of psychopaths, mutated by the lingering radiation from 331 nuclear bomb tests that were carried out during the 1950s and '60s. After several killings are carried out in memorably grisly fashion, it's left to the survivors to outsmart their disfigured tormentors, who are blessed with horrendous make-up (especially Robert Joy as freak leader "Lizard") but never quite as unsettling as the original film's horror icon, Michael Berryman. In Aja's hands, this newfangled
Hills is all about savagery and de-evolution, reducing its characters to a state of pure, retaliatory terror. It's hardly satisfying in terms of storytelling (since there's hardly any story to tell), but as an exercise in sheer malevolence, it's undeniably effective.--
Jeff Shannon
Synopsis
With his 2006 remake of Wes Craven's 1977 slasher 'The Hills Have Eyes', French director Alexandre Aja manages to accomplish what many directors fail to do by making his film a definite improvement over the original. With Craven on board as producer, Aja sticks pretty closely to the first film's script and storyline, but with the help of a larger budget, special effects, better actors, and slick cinematography, creates a much scarier story. While the film's setting is contemporary, it maintains a 1970s feel in parts, paying tribute to the decade in which the slasher subgenre was born. With an interesting opening-credit sequence consisting of actual nuclear testing footage, we are told that the film's desert setting was the site of nuclear testing during the 1950s and '60s. Warned to vacate, the miners that lived there refused to leave, thus subjecting themselves to high levels of toxic radiation, and breeding mutant babies as a result. It is this generation of now-grown mutants that the poor Carter family has the misfortune to encounter while driving through New Mexico on their way to California. When their vehicle breaks down in the desert, the Carters are too busy bickering with one another to realise they have entered enemy territory. But it doesn't take long for the demented creatures living in the hills to make their presence known. The gore fest that follows is packed with terribly frightening scenes of the deformed killers delighting in the torment and intended kill of each family member, young mothers, teen girls, and babies included. Much of the film is set in a government-created test city in which deteriorating mannequins take the place of actual humans. Posing lifelessly alongside their mutant neighbours, these waxy figures provide a chilling backdrop for the graphic war between the mutants and their victims.
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