Back in 2014, I fell in love with movies one degree further. I ended up scouring YouTube for old films, and burned through a ridiculous number of films in the space of a couple of months. I came across numerous films over this period: like this one, and other Arrow titles like Society (1989). But I wasn’t enjoying films; it was a background distraction, and I never gave these films the attention I was supposed to. Masterpieces became mediocre. Mediocrity became masterpieces. Watching The Hills Have Eyes in HD, rather than in some shitty 240p illegal upload, I was interested to see how my opinion of the film would improve.
But somehow, it got worse.
The Hills Have Eyes looks terrible, drenched in grain. It deserves to be seen in some grindhouse cinema that smells like a backalley that closed 40 years ago, displayed on a scratch-ridden 16mm print.
Cannibalism has often been a subject for the horror film: Cannibal Holocaust (1980), Delicatessen and The Silence of the Lambs (1991), even The Neon Demon (2016). But The Hills Have Eyes never manages to communicate the horror of it, or the pleasures of the horror film to the audience. We never get to see human flesh reduced to the bone. The man on the poster with the deformed head casts a looming, terrifying figure, yet he is never able to become something terrifying in the film itself.
The film hinges upon its characters as a joke, and a sense of dramatic irony. The girl who jokes about becoming a human french fry. The barking dog, who has more of a sense of something out of the ordinary than the humans themselves. The caricature of the Christian mother who begs for them to pray to God before they go into the desert – in case something happens to them. Perhaps Wes Craven is defined by his stereotypes, a notion he would deconstruct in Scream (1996).
Perhaps the film is at its most interesting in its base concept of strangers in a desert and its primordial, devolved tribal cannibals, stripped from their humanity with carnivorous teeth, yet the film never does anything interesting with them. The essay in the booklet paints the film as the last political horror film, seeped within the nuclear age and post-Watergate paranoia – but these flourishes are scarcely there.
Beyond some cheap exploitation, the film cannot recapture the same sense of the unwatchable, truly sickening sense of fear that The Last House on the Left (1972) was able to capture.