Remembering Wes Craven: "The Hills Have Eyes" Review

TRASH IN MY EYE No. 106 (of 2004) by Leroy Douresseaux

The Hills Have Eyes (1977)
Running time:  89 minutes (1 hour, 29 minutes)
MPAA – X
EDITOR/WRITER/DIRECTOR:  Wes Craven
PRODUCER:  Peter Locke
CINEMATOGRAPHER:  Eric Saarinen (D.o.P.)
COMPOSER:  Don Peake

HORROR/THRILLER

Starring:  Susan Lanier, Robert Houston, Martin Speer, Dee Wallace, Russ Grieve, Virginia Vincent, John Steadman, James Whitmore, Lance Gordon, Michael Berryman, Janus Blythe, Cordy Clark, Brenda Marinoff, Peter Locke, and Flora

The Hills Have Eyes is a 1977 exploitation and horror film written, edited, and directed by Wes Craven.  The film follows a California-bound family that has the misfortune of having car trouble in an area closed to the public and inhabited by violent savages.

Big Bob Carter (Russ Grieve) and his wife, Ethel (Virginia Vincent), are taking their children, son-in-law, and baby granddaughter to California when they accidentally go through an Air Force testing range.  They crash their car and trailer and are stranded in the desert.  Later that night, as the family looks for help, a cannibalistic clan attacks the family.  One by one, the clan picks off family members until the inbred marauders have left only half the family alive.  It’s up to the remaining members to fight back, rescue the kidnapped infant, and seek vengeance against their savage attackers.

A low budget 70’s horror film by horror master, director Wes Craven, The Hills Have Eyes helped Craven’s then growing reputation as a maker of fright flicks, especially coming on the heels of Last House on the Left.  The monsters really aren’t supernatural monsters, but they’re like the killers in Last House – savage humans living beyond even the farthest boundaries of civilization.   They are such outcasts that even domestic pets have a higher place in society than they do.

Forget the assumptions about Craven as a horror filmmaker.  The Hills Have Eyes is also a dramatic thriller about people fighting for their survival, even if that fight means the brutal deaths of their antagonists.  The Hills Have Eyes isn’t a great film, but it has its moments.  And like the best thrillers and horror films, The Hills Have Eyes is unsettling, frank, raw, and unrefined.  It’s not among Craven’s best work, but deserves to be seen as part of his larger body of filmmaking.  The Hills Have Eyes is a must see for true horror fans, and Michael Berryman as Pluto has become an iconic image in the horror film genre.

5 of 10
C+

Revised: Monday, August 31, 2015


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

Review: "Last House on the Left" (Remembering Wes Craven)

TRASH IN MY EYE No. 156 (of 2003) by Leroy Douresseaux

Last House on the Left (1972)
Running time:  84 minutes (1 hour, 24 minutes)
MPAA – X
EDITOR/WRITER/DIRECTOR:  Wes Craven
PRODUCER:  Sean S. Cunningham
CINEMATOGRAPHER:  Victor Hurwitz (D.o.P.)
COMPOSER:  David Alexander Hess

HORROR/THRILLER with elements of crime and drama

Starring:  Mari Collingwood, Lucy Grantham, David Hess, Fred Lincoln, Jeramie Rain, Marc Sheffler, Gaylord St. James, Cynthia Carr, Marshall Anker, and Martin Kove

Last House on the Left is a 1972 horror and exploitation film written, directed, and edited by Wes Craven.  The film was inspired by the 1960 Swedish film, The Virgin Spring, directed by Ingmar Bergman and written by Ulla Isaksson.  Last House on the Left focuses on the murder of two teenage girls by a quartet of psychotic criminals and the subsequent vengeance of one of the girls' parents.

Horror master Wes Craven’s (A Nightmare on Elm Street, Scream) first film, Last House on the Left, is nothing like his later work.  A film of unflinching brutality, it is shocking in the immediacy of its horror, and it is matter-of-fact in the way it portrays murder.  As a horror film, Last House on the Left is not supernatural, nor does it have any of the conventions of the “slasher flicks” that would grow to mass popularity in the late 70’s and into the late 90’s, including films that would be the work of Craven.

Mari Collingwood (Sandra Cassel) is celebrating Sweet Sixteen with her rebellious friend, Phyllis Stone (Lucy Grantham), when the pair encounters a gang of sadistic criminals.  The evil bunch  kidnaps them, and when the girls try to escape, the gang members hunt and kill them.  They disembowel Phyllis, and the lead thug, Krug Stillo (David Hess), rapes (in probably the sloppiest and most pathetic rape scene in film history) and shoots Mari.

Later, the gang unwittingly stumbles upon the home of Dr. William (Gaylord St. James) and Estelle Collingwood (Cynthia Carr), Mari’s parents, and become their guests.  When the parents discover that their daughter was murdered at the hands of their guests, the couple quickly and savagely begins to slay their daughter’s murderers.

The acting is nothing short of remarkable.  Combined with Craven’s documentary style of filmmaking, Last House on the Left seems very real – kind of jerky, shaky and bloody.  Watching it is like being in the middle of some crazy incident and then having to run madly from one corner to another to find safety.  From the prolonged torture of the teenage girls to the speedy dispatching of the bad guys, Last House on the Left is a jolt of a violent voyeurism.  Part crime drama and part thriller, it is a horror movie like no other.  Disquieting, it is a shunned corner in the mirror of its time – the dirty and worn ends of the hippie era.  At times, it seems too raw and too unpolished, but the movie still leaves you shaking your head and saying, “What the hell…”

7 of 10
B+

Revised: Monday, August 31, 2015

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

Review: Yes, "Pink Flamingos" is Culturally Significant (Happy B'day, John Waters)

TRASH IN MY EYE No. 154 (of 2006) by Leroy Douresseaux

John Water’s Pink Flamingos (1972)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – NC-17 for a wide range of perversions in explicit detail (re-rating for 1997 re-release)
PRODUCER/WRITER/DIRECTOR: John Waters
EDITOR/CINEMATOGRAPHER: John Waters

COMEDY/CRIME

Starring: Divine, David Lochary, Mary Vivian Pearce, Mink Stole, Danny Mills, Edith Massey, Channing Wilroy, Cookie Mueller, Paul Swift, Susan Walsh, and Linda Olgierson

Pink Flamingos is a 1972 black comedy and exploitation film from director John Waters. Controversial upon its initial release, because of its depiction of perverse acts, Pink Flamingos went on to become a cult film because of its notoriety. The film follows a notorious female criminal and underground figure who resists attempts to both humiliate her and to steal her tabloid reputation.

Divine (Divine) lives on the outskirts of Baltimore in a trailer with her degenerate son, Crackers (Danny Mills), her dim-bulb mother, Edie (Edith Massey), and her “traveling companion,” Cotton (Mary Vivian Pearce). She lives under the pseudonym Babs Johnson, and in local outsider community and to its news press is known as the “Filthiest Person Alive.” However, local couple, Connie (Mink Stole) and Raymond Marble (David Lochary), also vies for that title. The vile Marble clan launches an unbridled assault on Babs Johnson’s reputation and on her home. But Babs and her family fight back in a small war that breaks just about every taboo in the book: incest, drug trafficking, bestiality, castration, murder, cannibalism, etc.

It seems impossible that (regardless of what other films he has directed in the past or may direct in the future) John Waters will be best remembered for any film other than Pink Flamingos. Cheaply made with a cast of amateur actors and locals from the Baltimore area (from where Waters originates), this is the kind of film that would normally merit a review of “no stars” or a grade of “F,” simply because it isn’t like a “normal” film (at least not one from Hollywood). However, Pink Flamingos may be the ultimate low budget trash movie, the ultimate camp experience, and a supreme ode to bad taste. Fun, vile, and also disgusting to the point that many people might turn off the TV early in the film (or walk out the theatre), Pink Flamingos is an object – a piece of art by someone who wants to put his thumb in the eye of American values. It doesn’t matter if its working class, middle class, church-going, God-fearing, or baseball-mom-and-apple pie American values, John Water made Pink Flamingos an assault on decency.

New Line Cinema, the film company that distributed the movie in 1972, released a trailer for Pink Flamingos that did not include scenes from the film, so in that vein, I won’t give away more about the movie. I will say that no serious fan of movies can go without seeing it.

8 of 10
A

Tuesday, July 18, 2006

------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: "Law Abiding Citizen" Has a Rage On

TRASH IN MY EYE No. 7 (of 2010) by Leroy Douresseaux


Law Abiding Citizen (2009)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – R for strong bloody brutal violence and torture, a scene of rape, and pervasive language
DIRECTOR: F. Gary Gray
WRITER: Kurt Wimmer
PRODUCER: Gerard Butler, Lucas Foster, Mark Gill, Robert Katz, Alan Siegel, and Kurt Wimmer
CINEMATOGRAPHER: Jonathan Sela (D.o.P.)
EDITOR: Tariz Anwar

CRIME/SUSPENSE/THRILLER with elements of action and mystery

Starring: Jamie Foxx, Gerard Butler, Colm Meaney, Bruce McGill, Leslie Bibb, Michael Irby, Gregory Itzin, Regina Hall, Emerald-Angel Young, Christian Stolte, Annie Corley, Richard Portnow, and Viola Davis

In the 1970s, movie studios produced what were called black exploitation, or “Blaxploitation,” films. The films starred predominately black actors and featured subject matter of interest to Black people, such as racism, violence, and crime, although not all Blaxploitation films dealt with those subjects.

I believe that there are also “Whiteploitation” films. I call them that because they are films that exploit the fears of White Americans, especially fears concerning urban crime and violence, particular crime committed against white people by brown people (African-Americans, Latinos, Asians, etc.) and lower class whites (white trash).

The recent film, Law Abiding Citizen, focuses on an assistant district attorney at odds with a criminal mastermind who virtually controls a city from the confines of his prison cell. This could be seen as a white exploitation film, exploiting issues of violent crime and a broken justice system in hopes of tapping into the resentments of its predominately white audience. While Law Abiding Citizen initially deals with these issues, in a somewhat substantive fashion, it eventually morphs into a standard thriller full of violence and largely unfocused rage – again to appeal to the prurient interests of a young male audience.

In the film, Clyde Shelton (Gerard Butler) is traumatized by the brutal murders of his wife and daughter at the hands of two men during a home invasion. Nick Rice (Jamie Foxx) is the ambitious, hotshot, young prosecutor, assigned to the case. Nick offers one of the suspects a light sentence in exchange for testifying against his accomplice, but the criminal who gets the plea deal is actually the worse of the two. Rice ignores Shelton’s objections to this deal.

Ten years later, Shelton kills the two men who murdered his wife and child. Thrown into prison, Shelton begins a campaign of vengeance against the entire system. Soon, Nick Rice and the city of Philadelphia are held in a grip of fear, with authorities powerless to halt Shelton’s reign of terror. With police Detective Dunnigan (Colm Meaney) at his side, Nick desperately races against time to stop a deadly adversary who seems always to be one step ahead, even though he’s in prison!

When it was about victims of violent crime and revenge, Law Abiding Citizen had potential. When it became a suspense thriller, it became just another… well, suspense thriller. The film makes some legitimate points about victims of crime and the criminal justice system, which makes it similar to “Whiteploitation” flicks like Death Wish and Sudden Impact. However, at the point when Clyde Shelton goes from righteous vengeance to acts of terrorism against society, the film loses what moral standing it had.

Law Abiding Citizen mixes elements of V for Vendetta (shadowy figure holds city in grip of fear), the Jason Bourne movies (former operative uses special skills for payback), and the Saw franchise (torture and gruesome murder), with a dose Charles Bronson revenge movie. It’s entertaining and quite often it offers the kind of genuine stimulation a good, taut thriller should. But to second Owen Gleiberman of Entertainment Weekly, I no longer enjoy Gerard Butler’s “mush-mouthed bravura” (and only liked it for a little while). Jamie Foxx gives a good performance, but compared to his best work (Ray, Collateral), his performance here seems like only a dutiful effort to justify the large paycheck he received for this movie.

I also want to give the producers credit for hiring a perfectly capable African-American director and for giving us a satisfying ending.

5 of 10
B-

Friday, February 19, 2010

NOTES: 2010 Image Awards: 2 nominations for motion picture actor (Jamie Foxx) and director (F. Gary Gray)