The Hills Have Eyes appears in an aspect ratio of approximately 2.35:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Despite many positives, a few problems meant this transfer showed moderate weaknesses.
My main complaint related to shadows. The movie used a lot of low-light shots, and they occasionally looked too opaque and dense. Some of this stemmed from the use of ďday for nightĒ photography, but other images just seemed too dark for no logical reason. At least blacks remained deep and tight.
Otherwise, this was a solid transfer. I noticed a little edge enhancement and some shimmering in the craggy landscapes, but sharpness almost always looked excellent. Only a sliver of softness ever marred the proceedings. For the most part, the movie was tight and crisp. No jagged edges interfered, and source flaws were absent.
Given the filmís desert setting, I didnít expect much from the palette. Thatís good, since it never did much to bring out a variety of hues. Colors stayed simple to fit the landscape. The tones were accurate and appropriately delineated. Other than the excessive murkiness of shadows, Eyes provided a solid transfer.
The Dolby Digital 5.1 soundtrack of The Hills Have Eyes managed to help accentuate the movieís scares. It provided a particularly creepy setting. This was especially true during the scenes in which the mutants indirectly threatened the Carters. Voices and footsteps popped up all around the room and formed an unsettling sensibility. The louder action scenes were also well rendered, as the filled the soundscape well.
Audio quality remained positive. Speech was distinctive and natural, and I noticed no issues with intelligibility. Music seemed clear and dynamic. The score showed good reproduction at all times. Effects came across as crisp and full. They lacked distortion and were always quite strong. This was a consistently good soundtrack.
When we shift to the extras, we get two separate audio commentaries. The first comes from screenwriter/director Alexandre Aja, screenwriter/art director Gregory Levasseur, and producer Marianne Maddalena. All three sit together and provide a running, screen-specific discussion.
This piece looks at storytelling issues and characters, cast and performances, locations, sets, and related complications. The filmís photographic style and cinematographic choices, edits and changes made for the unrated cut, stunts, effects, and various production concerns. The commentary hits on the appropriate issues and does so in an entertaining way. Some may find it tough to slog through the French accents of Aja and Levasseur, but I didnít have any trouble understanding them. They show decent passion for the flick and offer an informative examination of the movieís creation.
For the second chat, we hear from producers Wes Craven and Peter Locke. Both sit together for their running, screen-specific piece. As you listen, you may wonder what Craven did for the production. Stuck working on post-production for Red Eye, he didnít visit the set, so it appears he had little involvement in matters. This means he asks Locke about details and talks more about the original film than the remake. Craven makes comparisons to his version, and thatís good. He also gives us notes about the 1977 takeís production, and thatís not so good. His comments are reasonably interesting but out of place; he should leave that material for the 1977 Hills DVD.
Because of Cravenís lack of involvement in the production, this leaves Locke to carry the bulk of the commentaryís informative portions. He does okay at this, though I canít say we learn much in the way of new material. Locke tells stories better than the Frenchies on the first track, but outside of a few fun anecdotes, he sheds little light on undiscussed areas.
Locke also runs out of steam as things progress and doesnít say as much during the movieís second half. Craven jokes a lot throughout the film, and this tone dominates the final hour or so of Eyes. Some of this is amusing, but it gets tiresome, especially since Craven tends to recycle the same jokes; he makes about a million ďkids, donít do this at homeĒ cracks. Locke and Craven present a breezy enough commentary, but not one with a lot of informational merit.
Next comes a 50-minute and 21-second documentary entitled Surviving the Hills: Making of The Hills Have Eyes. It mixes movie scenes, behind the scenes materials, and interviews. We hear from Locke, Maddalena, Aja, Levasseur, Craven, production designer Joseph Nemec III, special makeup designer Greg Nicotero, visual effects coordinator Danilo Bollettini, visual effects supervisor Jamison Goei, director of photography Maxime Alexandre,
and actors Aaron Stanford, Emilie de Ravin, Ted Levine, Kathleen Quinlan, Dan Byrd, Vinessa Shaw, Robert Joy, Billy Drago and Michael Bailey Smith.
The show looks at the development of the remake and the approach taken by the filmmakers, shooting some of the major sequences like the car crash and the trailer attack, locations, sets and production design. We also learn about attempts to base the filmís horror in reality, makeup and hill-dweller visuals, working with animals and kids, visual effects, music, and a few other production issues.
Since the commentaries cover so much information, we encounter more than a little redundancy here. That said, the program provides a very nice overview of the various issues. It offers good behind the scenes footage that expands the verbal discussions of the areas, and the extra participants add depth to the piece. This becomes a very good program.
Production Diaries fill 11 minutes and six minutes. These come from the set and show us various aspects of the production. We observe the multinational nature of the crew, shooting some bloody sequences, animal wranglers, stunts, and weather problems. Normally I really like this kind of footage, but I must admit this collection left me a bit cold. We see a few interesting bits but nothing that comes across as particularly memorable to me.
Next we find a Music Video for ďLeave the Broken HeartsĒ from the Finalist. This generic modern semi-metal track sounds like about a million other songs in its genre. The video is also quite ordinary as it mixes movie scenes and lip-synch performance. Skip it.
The DVD opens with a promo for Foxís thrillers. No trailer for Eyes appears here.
One of the more brutal and relentless horror films Iíve seen, The Hills Have Eyes packed a serious punch. It truly felt like a nightmare as it presented a familyís descent into hell with power. The DVD offered good picture, audio and extras. This was a better than average DVD for a strong flick. Itís too dark to be for everyone, but fans of the genre should get into it.