Horror master Wes Craven achieved critical and commercial success with the likes of Scream and A Nightmare on Elm Street – but for many genre fans, the director’s seminal 1977 effort The Hills Have Eyes remains his masterpiece. Taking an ill-advised detour en route to California, the Carter family soon run into trouble when their campervan breaks down in the middle of the desert. Stranded, the family find themselves at the mercy of a group of monstrous cannibals lurking in the surrounding hills. With their lives under threat, the Carters have no choice but to fight back by any means necessary. Following on from his notorious 1972 directorial debut The Last House on the Left, Craven’s The Hills Have Eyes stands alongside the likes of The Texas Chain Saw Massacre and Night of the Living Dead as one of the defining classics of American horror.
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Video Quality
Arrow Video presents The Hills Have Eyes with a magnificent 2160p transfer in its original 1.78:1 aspect ratio sourced from a 4K scan of two separate 35mm CRI elements struck from the 16mm AB negative reels, which have been lost. It should be noted before delving into this one that this film was shot on 16mm which means that the film is extremely grain heavy. For those who come to 4K strictly for a sleek and clean picture, you should probably look elsewhere. That being said, this is by far the best this film has ever looked and probably could ever look.
The level of detail and clarity is stunning with all of the natural film grain intact. The thick grain resolves much more favorably than before with only some minor fluctuations due to the original photography. The texture on display in the grimy outfits and within the landscape are a revelation. Even the special effects details present with impressive clarity that makes his work all the more visceral. This transfer does not register anything in the way of print damage. This presentation is true to the original look of the film with the added resolution making elements seem more natural. There does not appear to be any jarring digital anomalies such as compression artifacts, banding or any other such nuisances.
It should come as no surprise that this is not the most colorful film to ever exist, but that does not lessen the impact of the Dolby Vision presentation. The new release features some colors in the warm desert landscape that pop off the screen with a vibrant intensity. It might not be candy colored, but it reaches an accuracy not possible on a lesser format. Lighting is an essential part of ratcheting up the terror of this film and this disc handles every slight environmental change with ease. The black levels are strong with nothing in the way of crush present, and white levels are solid as a rock with no evidence of blooming. While this is not the most visually sumptuous film, this presentation is the ultimate representation thanks to the folks at Arrow Video.
Audio Quality
The 4K UHD Blu-Ray disc comes with three tremendous tracks including a DTS-HD 7.1 Master Audio track, a DTS-HD 2.0 Master Audio stereo track and a DTS-HD 1.0 Master Audio mono track. These tracks provide an expansive soundscape that perfectly captures the artistic intent while harnessing the technology of the present. The surround tracks do not feature constant activity in the side and rear channels, but they go towards making the world sound fuller. The score from Don Peake has never sounded better and is used impeccably to establish the mood of the story. There is never a moment where it threatens to overwhelm competing sounds, and it maintains a good balance so that dialogue comes through clearly. The environmental sounds such as the wind across the plains and barking dogs are rendered well alongside everything else. There does not seem to be any noticeable instances of age-related wear and tear. Arrow Video has given this film a perfectly preserved audio presentation that brings the movie to life in an exciting manner. There are optional English SDH subtitles provided.
Special Features
- Audio Commentary #1: Actors Michael Berryman, Janus Blythe, Susan Lanier and Martin Speer provided a commentary track moderated by Michael Felsher from Red Shirt Pictures in which they discuss their paths to becoming performers, getting cast in this film, memories of the shooting locations, the pet tarantula on set, what it was like working with Wes Craven, scenes that they refused to shoot themselves, the harsh shooting conditions they experienced and more.
- Audio Commentary #2: Writer/Director Wes Craven and Producer Peter Locke provide a very informative commentary track in which they discuss how this film originated from an urge to make movies and a limited budget, the unique way they chose certain cast members, lore that they drew inspiration from, the desolate shooting locations, the realities of shooting with dogs, the dangerous stunts, the elaborate elements that were cut from the script and more.
- Audio Commentary #3: Academic Mikel J. Koven provides a very fun and insightful commentary track in which he takes a critical look at the film including the themes, allusions to other cinematic works, the connections to famous serial killers, misconceptions about the film and more.
- Looking Back On The Hills Have Eyes: A vintage 55-minute making-of documentary featuring interviews with Craven, Locke, actors Michael Berryman, Janus Blythe, Robert Houston, Susan Lanier, Dee Wallace and director of photography Eric Saarinen. In this piece, you get a sense of the background of Wes Craven, the motivation behind making this film, the impact it had on the performers, the stripping away of the characters, the symbolism injected by Craven, the collaborative nature on set, the tension around the baby’s mortality, the special effects, reactions to the picture and more.
- Family Business: A 16-minute interview with actor Martin Speer from 2016 in which he discusses auditioning for the part, acting in extreme weather conditions, memories of Wes Craven, light criticism he has with aspects of his performance, his relationship with the film over the years and more.
- The Desert Sessions: An 11-minute interview with composer Don Peake from 2016 in which he discusses meeting Wes Craven at a meditation center, how he had to work on the film during the day because it was so frightening, the unique instruments he utilized in the score, creating “nasty” music to suit the film and more.
- Alternate Ending: A nearly 12-minute alternate ending to the film that can be accessed on its own or via seamless branching when you go to watch the film.
- Outtakes: There is 19 minutes of unused footage from the filming that is provided in rough quality.
- Trailers & TV Spots: This disc provides the US Trailer (2:42), the German Trailer (2:45) and TV Spots (1:53).
- Image Gallery: There is a collection of Posters, Advertising Materials, Lobby Cards, Stills, and more.
- Original Screenplay: An option to flip through a digital screenplay for the film.
Final Thoughts
The Hills Have Eyes (1977) is a truly unsettling piece of filmmaking that elevates the genre with bone-deep thrills from its steady build-up. The performances from all involved are very effective, but it is the efforts from behind the camera in shaping the film that elevate it to something special. The combination of the score, the gritty cinematography and the effects work is too much to resist. This is the type of movie that will make you break out in a cold sweat the next time you are traveling through the midwest. Arrow Video has released a sensational 4K UHD Blu-Ray package featuring an A+ audio/visual presentation and more special features than you know what to do with. This is the type of release every fan dreams of their favorite movie getting. Highly Recommended
The Hills Have Eyes (1977) is currently available to purchase on 4K UHD Blu-Ray and Blu-Ray.
Note: Images presented in this review are not reflective of the image quality of the 4K UHD Blu-Ray.
Disclaimer: Arrow Video has supplied a copy of this set free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.