Based on Wes Craven’s 1977 suspenseful cult classic, The Hills Have Eyes is the story of a family road trip that goes terrifyingly awry when the travelers become stranded in a government atomic zone. Miles from nowhere, the Carter family soon realizes the seemingly uninhabited wasteland is actually the breeding ground of a blood-thirsty mutant family…and they are the prey.
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Credits: TheMovieDb.

Film Cast:

• Doug: Aaron Stanford
• Ethel: Kathleen Quinlan
• Lynn: Vinessa Shaw
• Big Bob: Ted Levine
• Brenda: Emilie de Ravin
• Bobby: Dan Byrd
• Gas Station Attendant: Tom Bower
• Papa Jupiter: Billy Drago
• Lizard: Robert Joy
• Big Brain: Desmond Askew
• Goggle: Ezra Buzzington
• Pluto: Michael Bailey Smith
• Ruby: Laura Ortiz
• First Victim: Maxime Giffard
• Baby Catherine: Maisie Camilleri Preziosi
• Cyst: Gregory Nicotero
• Big Mama: Ivana Turchetto
• Small Deformed Child: Judith Jane Vallette
• Small Deformed Child: Adam Perrell

Film Crew:

• Line Producer: Inigo Lezzi
• Special Effects Coordinator: Danilo Bollettini
• Original Film Writer: Wes Craven
• Costume Design: Danny Glicker
• Sound Designer: Dane A. Davis
• Sound Designer: Richard Adrian
• Production Design: Joseph C. Nemec III
• Sound Re-Recording Mixer: Ezra Dweck
• Costume Supervisor: Nancy Au
• Makeup Department Head: Mario Michisanti
• Director of Photography: Maxime Alexandre
• Set Decoration: Alessandra Querzola
• Stunt Coordinator: Cedric Proust
• Makeup Artist: Karl Derrick
• Producer: Marianne Maddalena
• Assistant Art Director: Harry Pain
• First Assistant Director: Franklin A. Vallette
• Second Unit Director: Grégory Levasseur
• Director: Alexandre Aja
• Producer: Peter Locke
• Editor: Baxter
• Casting: Mark Bennett
• Executive In Charge Of Production: Alix Taylor
• Makeup Effects Designer: Howard Berger
• Sound Effects Editor: Carla Murray
• Foley Artist: Sean Rowe
• ADR Voice Casting: Barbara Harris
• Special Effects Supervisor: Franco Ragusa
• Foley Mixer: Ryan Maguire
• Assistant Editor: Manuel De Sousa
• Producer: Samy Layani
• Unit Production Manager: Frank Hildebrand
• Production Sound Mixer: Albert Bailey
• Construction Manager: Luigi Sergianni
• Sound Effects Editor: Bryan O. Watkins
• Visual Effects Supervisor: Jamison Scott Goei
• Scoring Mixer: John Kurlander
• Matte Painter: Laurent Ben-Mimoun
• Foley Artist: Ginger Geary
• Sound Effects Editor: Bill R. Dean
• Supervising Sound Editor: Mark Larry
• Music Editor: Sheri Ozeki
• Still Photographer: Lacey Terrell
• Post Production Supervisor: Tina Anderson
• Dialogue Editor: Kimberly R. McCord-Wilson
• ADR Editor: Frank Smathers
• Foley Editor: Solange S. Schwalbe
• Key Makeup Artist: Matteo Silvi
• Makeup Artist: Kevin Wasner
• Assistant Sound Editor: Christopher Alba
• Location Manager: Noureddine Aberdine
• ADR Recordist: Chris Navarro
• Script Supervisor: Cheryl Leigh
• Associate Producer: Cody Zwieg
• Costume Supervisor: Julie Glick
• Stunts: Guiomar Alonso
• Assistant Sound Editor: Nancy Barker
• Music Supervisor: David Franco
• Color Timer: Michael Hatzer
• Costume Supervisor: Anna Lombardi
• Supervising Art Director: Tamara Marini
• Makeup Artist: Mariam Lee Abounouom
• Assistant Chief Lighting Technician: Lyamani Bouhmdi
• Set Production Assistant: Mohamed Atbir
• Legal Services: Michael Barnes
• Second Assistant Director: Michael Gregory
• Negative Cutter: Gary Burritt
• Production Coordinator: Katryna Samut-Tagliaferro
• Painter: Cristina Cecili
• Sound Assistant: Jamal Quandil
• Conductor: Dwight Mikkelsen
• Storyboard Artist: Adrian Cancer
• Second Assistant Director: Jon-Luke Lourens
• ADR Mixer: Eric Thompson
• Ager/Dyer: Phyllis Thurber-Moffit
• First Assistant “B” Camera: Ionut Lupulescu
• 3D Artist: Shih-hao Jason Huang
• Stunt Double: Florian Robin
• Visual Effects Producer: Laura LeFaivre
• Hair Department Head: Massimiliano Duranti
• Costume Assistant: Lahcen Abbana
• Special Effects Assistant: Mohamed Ali Aqermim
• Assistant Location Manager: Imad El Ghazi
• Second Assistant Director: Shamiel Soni
• First Assistant Accountant: Wannapa ‘Gai’ Sinthunawa
• Original Music Composer: tomandandy
• Second Assistant Director: Olivier Agostini
• Hairstylist: Salima Oulad Dahhou
• Art Department Assistant: Jérôme Billa
• Carpenter: Fabio Carussi
• On Set Dresser: Jaouad Rehaoui
• Boom Operator: Dick Philip
• Grip: Hassan Chrij
• Musician: Paulinho Da Costa
• Transportation Captain: Omar Driouche
• Cableman: Jamal Kandil
• Property Master: Mark Fruin
• Chief Lighting Technician: Alessandro Cardelli
• Set Medic: Hakima Hammoudi
• Production Accountant: Ibtisame Semmar
• Unit Publicist: Dan Maddalena
• Key Grip: Nazzareno Savini
• Dresser: Lahcen Ait Elhaj
• “B” Camera Operator: Sacha Melaranci
• Third Assistant Director: Rachid Doha
• Electrician: Eyoub Jallal
• Set Dressing Buyer: Elizabeth Ragagli
• First Assistant “A” Camera: Valerio Villalba
• Camera Trainee: Anas Batma
• Digital Colorist: Kathy Thomson
• Animal Wrangler: Lmahjoub Boulmi
• Assistant Accountant: Hanane El Amrani
• Assistant Production Coordinator: Kawtar Bellafquih
• Catering: Youssef El Idrissi
• Production Assistant: Mustapha Amiri
• Production Secretary: Latifa Chouih
• Makeup Artist: Clare Mulroy
• Second Assistant Director: Bertrand Gagey
• Second Assistant Director: Dexter Locke

Movie Reviews:

• Gimly: One of the best horror remakes to come out in this most recent trend. Rather than ignoring its source material, or taking the other extreme of drearily rehashing it scene for scene, Aja and Levasseur’s _The Hills Have Eyes_ simply expands and improves upon the original.

  _Final rating:★★★★ – Very strong appeal. A personal favourite._

• CinemaSerf: Aside from some pretty significant plausibility issues, this is actually quite a decent shock horror. A family stop off at gas station where the elderly attendant tells them of a dirt track shortcut across the desert that will save them a few hours. Towing their caravan, off they go, but when a puncture causes them to lose control and crash into a big rock, they begin to realise that they are not the only folks nearby – and I use the term “folks” loosely. What now follows sees our travellers terrorised by some hideously mutated people who had been left there ever since the US Government carried out nuclear tests. Reduced to just 3, “Big Bob” (Ted Levine) and his faithful hound have to track down his kidnapped baby grandchild – a perilous journey indeed. Now quite why they decided to take the shortcut is just one of a few dodgy decision taken by the “Carter” family that made me wonder, and rendered the plot increasingly silly as we progress to an ending that seems to drag on a bit too long. That said, there are plenty of jump moments and Alexandre Aja manages to keep the annoyingly screaming hysteria to a minimum. Once it eventually gets going, it becomes decently paced and the photography is tightly cut to maximise the impact of some pretty gruesome scenarios (and prosthetics!). Though not as gritty as the 1977 original, I think it’s still just as good.