The Hills Have Eyes(2006)

Name: The Hills Have Eyes
Director: Alexandre Aja
Genre: Horror, Thriller
Released: Mar 10, 2006
Cast: Ted Levine, Kathleen Quinlan, Dan Byrd, Maxime Giffard, Michael Bailey Smith

Fox Searchlight Pictures

R
Rated R for strong gruesome violence and terror throughout, and for language
1h 47m
- Horror
- Thriller

Release Date: Mar 10, 2006

A traveling family falls victim to a group of mutated cannibals in a desert far away from civilization.

Release Details

Original Release | Mar 10, 2006 | Wide

View Advanced Data

Box Office Results

Results

Opening Weekend US & Canada:
$15,708,512
Total US & Canada:
$41,778,863
Total International
$28,230,445
Total Worldwide:
$70,009,308

Current Showtimes

orround

Wed Aug 26
Thu Aug 27
Fri Aug 28
Sat Aug 29
Sun Aug 30
Mon Aug 31
Tue Sep 1

Director & Top Cast

Alexandre Aja
Director

Ted Levine
Actor

Kathleen Quinlan
Actor

Dan Byrd
Actor

Maxime Giffard
Actor

Michael Bailey Smith
Actor

Tom Bower

Actor

Emilie de Ravin

Actor

Aaron Stanford

Actor

Vinessa Shaw

Actor

Maisie Camilleri Preziosi

Actor

Robert Joy

Actor

Laura Ortiz

Actor

Ezra Buzzington

Actor

Billy Drago

Actor

Greg Nicotero

Actor

Ivana Turchetto

Actor

Desmond Askew

Actor

Technical Specifications

Sound Mix: DTS,SDDS,Dolby Digital

Aspect Ratio: 2.39 : 1

Other Details

Country of Origin: United States, France, Morocco

Language: English

Summaries

Plot Summary

The horror escalates methodically. After the Carter family's car breaks down, Big Bob returns to the gas station run by Fred, only to discover the attendant's complicity. Fred, related to Papa Jupiter, has been providing victims to his mutant son's family in exchange for stolen goods. Consumed by guilt, Fred blows his head off with a shotgun before Bob can extract information. Jupiter captures Bob and drags him back to the trailer, where he's tied to a stake and set ablaze as a distraction. While the family frantically tries to save their patriarch, Pluto and Lizard invade the trailer. What follows is the film's most disturbing sequence: Lizard rapes Brenda while Pluto searches for valuables. When Lynn returns to check on baby Catherine, Lizard forces her to expose her breasts while he suckles, holding the infant at gunpoint to ensure compliance. This violation, more than any gore, establishes the mutants as utterly depraved. Ethel's arrival interrupts the assault, but Lizard shoots her. Lynn stabs him in the leg with a screwdriver; in retaliation, he executes her with a shot to the head. The mutants flee with Catherine, leaving behind a devastated family and two dying women. Doug's rescue mission transforms him utterly. Tracking the mutants through mine tunnels, he discovers an abandoned nuclear testing village, a ghost town of mannequins and Cold War detritus where the cannibals have made their home. Big Mama knocks him unconscious, and he awakens in an icebox filled with dismembered bodies from previous victims. He encounters Big Brain, a wheelchair-bound mutant who reveals their origin: government nuclear testing forced them into the mines, where radiation warped them into what they've become. This exposition humanizes them momentarily, but Pluto's attack eliminates any sympathy. The fight between Doug and Pluto is the film's brutal centerpiece. Pluto, wielding an axe, severs two of Doug's fingers and seems poised to finish him. Doug begs for his life, appearing broken, but it's a feint. When Pluto and Big Brain mock him, savoring their victory, Doug drives a screwdriver through Pluto's foot. He wrestles away the axe, drives an American flag through Pluto's neck, and finally buries the axe in his skull. There's savage satisfaction in watching the mild-mannered salesman become a killing machine; Stanford plays it with no triumph, just grim necessity. Doug continues his rampage, killing the mutant Cyst with methodical brutality: breaking his kneecap, driving the axe into his back, then gouging out his eye. Meanwhile, Beast, the family's German Shepherd, attacks Big Brain and mauls him to death. When Big Brain orders Lizard to kill Catherine, Ruby intervenes, her conscience finally overriding family loyalty. She steals the baby, replacing her with a piglet, and flees into the hills. Back at the trailer, Bobby and Brenda face Papa Jupiter, who's returned with their mother's corpse. They've rigged the trailer with propane gas, creating a bomb triggered by a tripwire. When Jupiter enters, Brenda lures him toward the trap. The explosion engulfs him, but he survives, emerging from the flames still intent on killing them. Brenda finally ends him with a pickaxe to the head, a moment of cathartic violence that mirrors Doug's transformation. Doug catches up to Ruby, but Lizard pursues them both. The final confrontation plays out on a cliff edge: Doug shoots Lizard repeatedly, but the mutant's resilience is almost supernatural. He raises his shotgun for a final shot at Doug and the baby, but Ruby tackles her brother off the cliff, killing them both. Her sacrifice completes her arc from conflicted accomplice to tragic hero, though the film doesn't dwell on the emotional weight of her choice. The survivors reunite: Doug, covered in blood and clutching Catherine; Bobby and Brenda, traumatized but alive; and Beast, the lone surviving dog. They embrace as the camera pulls back, revealing the shot is from someone's perspective, looking through binoculars. The voyeuristic final image suggests more mutants remain in the hills, watching, waiting. It's an ending designed to unsettle rather than resolve, leaving the audience with the queasy realization that the nightmare isn't over. What makes this resolution work, despite its grimness, is Stanford's performance. Doug doesn't emerge victorious in any traditional sense. He's been fundamentally broken and remade by violence. His glasses are shattered, his hands mutilated, his wife murdered. He saved his daughter, but at what cost to himself? The film doesn't answer that question, which is probably wise. Some transformations can't be undone, and Doug's journey into savagery may be permanent. The sequel would explore this further, but even as a standalone film, this remake understands that survival isn't the same as winning. The Carters may have escaped the hills, but the hills haven't escaped them.

Storyline

While celebrating their 30th wedding anniversary, a couple are traveling through the desert with their 3 children, son in law and their baby granddaughter. While the rest of the family agrees there are plenty of better and more appropriate things to do to celebrate an anniversary, they make do with what they have, but things take a turn after a sketchy gas station attendant informs them about a "short cut" that will take them in between a series of hills in the desert. It doesn't take too long before they realize they're not alone and the hills indeed do have eyes. — ahmetkozan The Carter family, while traveling across the country, takes a shortcut through a deserted stretch of the New Mexico desert. When their vehicle is immobilized by a staged accident, the family becomes stranded in the isolated wilderness. They soon realize that they are being stalked by a group of mutant inhabitants who have been living in the area since the atomic testing of the Cold War era. As their safety is compromised, the surviving family members are forced to confront their attackers and navigate the treacherous landscape to protect one another and attempt to escape. — BhanuP-4960 Wes Craven produces this remake of his 1977 classic of the same name, about the Carters, an idyllic American family travelling through the great American southwest. But their trip takes a detour into an area closed off from the public, but more importantly from society. An area originally used by the U.S. Government for nuclear testing that was intended to be empty...or so they thought? When the Carter's car breaks down at the old site, they're stranded...or are they? As the Carters may soon realize that what seemed like a car casually breaking down, might actually be a trap. This trap might be perpetrated by the inhabitants of the site who aren't pulling a prank, but are out to set up a gruesome massacre. — mystic80