The Hills Have Eyes (Unrated) (Blu-ray)
The lucky ones die first.
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Also released as:
The Hills Have Eyes (Blu-ray)
for $29.70
Blu-ray Details
- Rated: Not Rated
- Run Time: 1 hours, 48 minutes
- Video: Color
- Encoding: Region 1 (USA & Canada)
- Released: September 13, 2011
- Originally Released: 2006
- Label: 20Th Century Studios
Performers, Cast and Crew:
Starring | Emilie de Ravin & Kathleen Quinlan | |
Performer: | Vinessa Shaw | |
Directed by | Alexandre Aja | |
Edited by | Baxter | |
Music by | tomandandy | |
Screenwriting by | Alexandre Aja & Grégory Levasseur | |
Produced by | Wes Craven, Peter Locke & Marianne Maddalena | |
Director of Photography: | Maxime Alexandre |
Entertainment Reviews:
Of considerably richer interest than the revampings of The Texas Chainsaw Massacre and The Fog, not the least for having American-heartland horrors viewed through foreign glasses
Full Review
CinePassion
It's just nasty.
Ebert & Roeper
Rating: 2.5/4 --
For such a dark, gritty, ferocious film, the big, melodramatic finish betrays its creepy, low-budget aesthetic.
Full Review
The Dispatch (Lexington, NC)
Rating: 4.5/5 --
Aja's film is partly a critique of nuclear war, partly a horror fable about the divide between Americans and the violence it inevitably causes.
Full Review
Father Son Holy Gore
Rating: 2/4 --
... Aja and his gorehound ilk are making movies that simply wallow in state-of-the-art displays of torture, sadism and sexual humiliation.
Full Review
Toronto Star
Rating: 4/5 --
On the strength of their 2003 slasher flick, High Tension, Craven hired director-writer Alexandre Aja and writer Grégory Levasseur, and the result is one of the most exhilarating, intense, and engrossing Hollywood shockers ever made.
Full Review
Georgia Straight
Directed in tense, concentrated jabs...the remake establishes a jittery family dynamic as well as the original...
New York Times
Product Description:
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 realize 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 gorefest 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 neighbors, these waxy figures provide a chilling backdrop for the graphic war between the mutants and their victims.
When their vehicle breaks down in the desert, the Carters are too busy bickering with one another to realize 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 gorefest 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 neighbors, these waxy figures provide a chilling backdrop for the graphic war between the mutants and their victims.