On one last road trip before they're sent to serve in Vietnam, two brothers and their girlfriends get into an accident that calls their local sheriff to the scene. Thus begins a terrifying experience where the teens are taken to a secluded house of horrors, where a young, would-be killer is being nurtured.
After kidnapping and brutally assaulting two young women, a gang unknowingly finds refuge at a vacation home belonging to the parents of one of the victims: a mother and father who devise an increasingly gruesome series of revenge tactics.
When Kimberly has a violent premonition of a highway pileup she blocks the freeway, keeping a few others meant to die, safe...Or are they? The survivors mysteriously start dying and it's up to Kimberly to stop it before she's next.
A team of trainees of the National Guard brings supply to the New Mexico Desert for a group of soldiers and scientists that are installing a monitoring system in Sector 16. They do not find anybody in the camp, and they receive a blurred distress signal from the hills. Their sergeant gathers a rescue team, and they are attacked and trapped by deformed cannibals, having to fight to survive. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During the scene where PFC Missy and PFC Amber were sitting on a rock and pretending that they were chatting in order to lure the wild mutants into a trap is shot in the late afternoon. Because of the light orange-red background we can clearly see that it is at near the setting of the sun. However, from the next and following scenes to the end of the film, in the dark mines we can see clearly that the sun was shining brightly, which means it is at noontide. See more »
[bursting out of the portable toilet with his pants down, hysterical and screaming]
There's a hand in the shitter!
See more »
I had actually liked the remake of Wes Craven's Hills Have Eyes, which was shown here last year. Directed by Alxandre Aja, it was top notch violence and gore which actually sent a chill, because the victims were an innocent family out for a holiday, and to see them getting systematically deeper into trouble, somehow makes it rather horrific to sit through.
While its predecessor was shown here with cuts, The Hills Have Eyes II is shown here in its full gory glory. However you wonder, just where did all the blood and gore had gone. Written by father and son team Wes and Jonathan Craven, the follow up movie (also a remake of the sequel to the original) seemed to be lacking in flavour and spirit. Sure the mutants are back, but there's very little space given to set them up, or enough time for you to identify and distinguish one from the other.
Did director Martin Weisz opt to play it safe? There's tension built, but nothing too riveting. The narrative is simple and straightforward, without much thought into trying to capture the X-factor why the original had worked somehow. Attempting to shock just for shock's sake, the movie opens with the birth of a child, in the most un-Discovery Channel manner, before introducing us to the victims, I mean, characters, and a short scene to link the events from its predecessor.
Again the military's dirty hands are in this one. Gone are the family, and in comes a small squad of National Guard trainees. It's soldiers versus A-bomb mutants, so the numbers come in handy to build up the body count. But in fact, none of them died in any creative manner. It's the usual hack jobs, and more uninterestingly, through the use of their carbines. Boring, and I guess too many movies outdoing one another in the creative death department, has taken its toil on this one, where simpleness and sure death like falling from great heights without the camera flinching, go unappreciated. Truth is, you know that it's a camera trick, and boy, are there a number of recognizable indoor shots for this outdoor movie, that makes it look cheap.
By the time it takes for these rookie soldiers to complete their training to the dark side and become cold killers (fighting for their own survival), you'll be more than in a hurry to head for the exit. To enjoy this movie, the usual leave your brains at the door cliché applies. Just make sure someone doesn't take a real machete and help you put it there.
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