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FOR HIS SOPHOMORE OUTING, Craven would explore similar ground to The Last House On The Left.

This time, The Hills Have Eyes would see a whole family being besieged upon by a family of mutants in the remote mid-west of the United States.

The Carters are on a road trip when they decide to take a detour to check out an old silver mine that has been bequeathed to them.

The detour would see them cross paths with The mutants. Thus anarchy is carried out upon the wholesome American family.

There’s the patriarch and matriarch figures leading the way, with their son, 2 daughters and a son-in-law in tow.

Oh and let’s not forget their protectors, 2 dogs by the named of Beauty and the Beast.

And so, in the world that Craven chooses to play in, he constantly plays with dark and light, good and evil and the thin line that seperates the two.

When the Carters are pitted into this extreme environment, a world truly removed from their own, they must turn to their animalistic instincts in order to survive.

Where this outing differs from Craven’s first directorial feature, The Last House On The Left, is that not only is he honing his craft but this time around he delivers a more commercial product. That’s not to say that The Hills Have Eyes is in anyway

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– Paul Farrell