Film Review: The Hills Have Eyes (2006)
Synopsis:
The Hills Have Eyes, a remake directed by Alexandre Aja, opens with a tense atmosphere steeped in dread and horror. The story follows the Carter family, who are embarking on a road trip from Ohio to California. When their RV breaks down in the desolate Nevada desert, they find themselves at the mercy of a group of mutant cannibals who have been living in the nearby hills, secluded from society. The film introduces the family’s various personalities: the stoic father, Bob (Aaron Stanford), the anxiously protective mother, Ethel (Kathleen Quinlan), and their teenage daughter, Lindsay (Olivia Grace Applegate), along with the rest of their close-knit family members.
As the sun sets, the family’s nightmare begins when they are hunted down by the inbred cannibals, led by the monstrous figure of Papa Jupiter (Billy Drago). The gruesome violence escalates, leading to desperate attempts at survival by the family members, who struggle against both the physical and psychological torment inflicted by their assailants. As the film unfolds, themes of survival, familial loyalty, and the primal instincts that emerge in the face of horror become central to the narrative.
List of Actors and Their Characters:
- Aaron Stanford as Doug Bukowski
- Kathleen Quinlan as Ethel Carter
- Vinessa Shaw as Lindsay Carter
- Emilie de Ravin as Beauty
- Dan Byrd as Bobby Carter
- Billy Drago as Papa Jupiter
- Michael Bailey Smith as Mars
- Robert Joy as Lizard
- Amber Heard as Britney
- Jay D. R. Montgomery as the old man
Review:
Aja’s The Hills Have Eyes invites viewers into a world where familial bonds are tested against the most gruesome of odds. The film’s choice to expand upon the original 1977 Wes Craven film is a point of contention among horror fans, yet it ultimately delivers a fresh take on a classic text while enhancing exposure to the critique embedded within it.
From its opening scenes, the film crafts an atmosphere thick with tension. The vast, unforgiving desert landscape, beautifully shot by cinematographer Maxime Alexandre, serves as both a setting and a character in its own right. The isolation is palpable and accentuates the helplessness of the Carter family when they find themselves stranded. Aja utilises sound design to unnerve audiences effectively; even the seemingly innocuous wind carries a foreboding whisper, foreshadowing the danger lurking just beyond.
The casting is well executed, with Aaron Stanford convincingly embodying the role of Doug, the man who must ascend from a complacent son-in-law to an improbable hero. His struggles throughout the film are excellently portrayed, particularly in moments of visceral terror when he is forced to confront the limits of his morality. Kathleen Quinlan as the matriarch Ethel delivers a surprisingly nuanced performance that speaks to the anguish of a parent thrust into a horrifying situation, her emotional descent akin to that of a grief-stricken warrior.
Vinessa Shaw’s portrayal of Lindsay Carter brings depth to her character’s fears and motivations. As the tension mounts, Lindsay becomes a symbol of resilience, navigating her role as a daughter and survivor amidst unimaginable horror. Emilie de Ravin shines as Beauty, a character steeped in both victimhood and agency. The film’s portrayal of her character wrestles with exploitation, bringing forth critical commentary on how horror often exploits the female form, while countering this with moments of empowerment.
The horror in The Hills Have Eyes is visceral and relentless; Aja does not shy away from graphic violence. The film maintains a consistent and relentless pace, escalating tension with each family member’s confrontation with the cannibals. The gore is not simply gratuitous; it serves to punctuate the very real stakes that the Carter family faces. The visceral imagery provokes a tangible anxiety, immersing the audience in the same fear that plagues the characters.
One particularly notable element is the film’s approach to its antagonists. The inbred cannibals are portrayed not as mindless monsters but as complex figures shaped by their social context. As the horrifying acts unfold, the audience is confronted with questions of morality and societal rejection. Papa Jupiter and his ‘family’ are grotesque manifestations of society’s outcasts, marooned and left to evolve into entities of violence and chaos. Thus, Aja adds layers to the horror, prompting discussion about the nature of savage versus civilised behaviour, and the thin veil that separates the two.
However, the film does not shy away from unearthing its socio-political undertones. The cannibals serve as an unsettling reflection of societal decay, an extreme version of humanity’s possible outcome when isolated from the norms of civilization. As horrific an experience as it is, the film encourages reflection on class disparities and the perils of neglect towards those on society’s fringes.
Moreover, the film’s conclusion is polarising. On one hand, it offers a tense climax filled with adrenaline and frights, while on the other, one may argue it resorts to clichés commonly found in horror cinema. Nonetheless, it cannot be denied that the climactic showdown that unfolds encapsulates the genre’s crossroad between survival and sheer merciless brutality.
In terms of pacing and direction, Aja delivers a tight and secure narrative that leaves little room for slack. The film’s flow, marred only slightly by the occasional horror trope, provides a gripping watch. The distinct quality of The Hills Have Eyes comes from its ability to juxtapose its inherent terror with a deep understanding of human relationships, pushing forward its thematic relevance.
Conclusion:
Ultimately, The Hills Have Eyes (2006) stands as a remarkable testament to the horror genre, surpassing mere shock value through a well-crafted narrative that provokes thought and engagement. Alexandre Aja’s remake retains the spirit of Craven’s original while updating its approach to storytelling and visual artistry. The film effectively highlights both the horrors lurking in the wilderness and the inner demons that arise in the face of survival. With solid performances across the board and a critical eye towards societal themes, it finds its place amongst the ranks of worthy horror remakes.
Score: 8 out of 10
