The Hills Have Eyes (1977)

De familie Carter trekt met de caravan richting Californië. Vader Bob wil eerst nog enkele oude zilvermijnen bezoeken in een afgelegen woestijngebied. Het domein ligt er verlaten bij. Wanneer er plots legerjets boven hun hoofden scheuren, vermoeden ze dat ze zich nabij een testbasis van de Amerikaanse luchtmacht bevinden. Door de verwarring raakt het voertuig van de Carters van de baan en zit het gezelschap hopeloos vast. Even later blijkt het gebied toch bewoond te zijn. De bewoners blijken echter niet vertrouwd te zijn met de moderne samenleving en gedragen zich als hebberige dieren.

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Horror auteur Wes Craven followed his threadbare but horrifically compelling cult classic Last House on the Left with this wonderfully demented morality fable about a bloody war of attrition between two extremely different families. The story opens on the journey of the Carters, a mildly dysfunctional extended family led by patriarch "Big Bob" Carter (Russ Grieve), as they travel across the California desert in search of an inherited silver mine. When a broken axle leaves them stranded in the middle of a former nuclear testing site, their attempts to find help lead them unwittingly into the territory of a savage ...
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family of cave-dwelling cannibals, the apparent progeny of the bearlike Jupiter (James Whitworth) and an abducted prostitute. Jupiter's eldest son Pluto (professional movie weirdo Michael Berryman) leads the first brutal attack on the defenseless Carters who, through necessity, are driven to equally extreme measures in order to survive. Though the film is not overtly bloody, the scenes depicting this confrontation are rendered with an unflinching directness, and the violations visited on the Carters are so brutal as to make the survivors' regression into savagery all the more convincing. No one is spared from the nightmare: Jupiter's boys have even kidnapped the youngest member of the Carter family -- a mere infant -- to serve as fodder for their next barbecue, and the baby becomes the main point of contention between the rival clans. Craven nevertheless refuses to take the easy way out by depicting his "monsters" as soullessly evil; parallels between either family's "values" are clearly drawn as the differences between the two clans begin to blur.
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