If you'd heard nothing about 'Death Valley' and never seen the poster, you'd get about a quarter through the film still thinking it was an overly angsty kid's movie about dealing with divorce. To your surprise, you'd find that the film is one of the most gussied-up, glitzy actor'd, low-brow slasher flicks every made.Despite an impressive cast, it's really no surprise if you haven't heard of this one – I hadn't and I'm a child of the 80's. In 1982, with slasher films reaching their apex of interest, and audiences demanding more and more outlandish scenarios, director Dick Richards (better known for westerns and noir) set out to make a serious suspense thriller told from a young boy's perspective. Fortunately (or otherwise), he succeeded only in finding a bizarre new genre-limbo somewhere between 'Kramer vs. Kramer' and 'Slumber Party Massacre'; 'Death Valley' is a bit of an awkward fit.Billy, played by Peter Billingsley ('A Christmas Story'), is as sublime a 'natural' as ever there was in the role of the young boy in question. He lives in Manhattan with his father, a rather sophisticated businessman played by Edward Herrmann ('The Lost Boys') and is about to take a vacation out west with his mother (Catherine Hicks – 'Child's Play') and her corn-fed boyfriend (Paul Le Mat – 'American Graffiti'). There's no question that Billy is none too pleased at the prospect but he's immediately shown to be both mature and intelligent enough to cope.Aside from Billy's misplaced distrust of his mother's new beau, the newly-formed family unit begins a trek across the deserts of Arizona with only the mildest of dysfunction in tow. Our first hint that the story will dive into dread comes when Billy notices an ominous old Cadillac passing on the highway; the scene recalls Spielberg's 'Duel' or Carpenter's 'Christine'. From here the film spirals down into a bloody-red murder mystery with Billingsley as the hunted witness and Wilford Brimley ('The Thing') as the bumbling highway cop without any hope of protecting this unsuspecting family from a mysterious killer.There really is a punch about a third of the way into the film (around the time we see a completely obligatory topless vixen and tomato-soup-red blood pouring from the neck of a victim – whose killing has no motivation by the way) that the whole tone turns on its head. 'Death Valley' feels a bit like 2 movies with 2 different directors - who have vastly different goals - just collaged together without much care or purpose. It's no wonder that Universal didn't really know what to do with this one; it sat in a can for over a year before it was released. Purpose aside, I sat down and tried to figure out why this film doesn't work and, in doing so, I found myself with a list of all the reasons it does: big names, epic cinematography (filmed almost entirely on location), Wilford Brimley, 1980's nostalgia (see 'SIMON'), unapologetic child-in-peril scenario, and neon-orange blood splattered across half of the movie. What's not to like?

I really don't think it's as bad as the review in the Leonard Maltin paperback would indicate; it's just not particularly distinguished. It places a child front and centre and in a considerable amount of jeopardy as he runs afoul of a sadistic serial killer in Death Valley. This kid is Billy (Peter Billingsley of "A Christmas Story" fame), an NYC native devoted to his loving dad (Edward Herrmann) who visits his mom (Catherine Hicks) and her new boyfriend (Paul Le Mat) in Arizona. While visiting the site of an abandoned gold mine, he enters an RV and pilfers a necklace that he finds, not knowing that he's obtained valuable evidence that links the killer to the scene of a crime. From then it's sort of a cat and mouse game as the killer sets out to keep Billy quiet. Dick Richards ("Farewell, My Lovely", "March or Die") directs from Richard Rothstein's script, which starts out as if it's going to be told entirely from the childs' perspective as he tries to come to terms with his parents' divorce and with the new man in his moms' life. Soon enough, it edges into slasher film territory, as our killer chops up unfortunate victims. It also attempts to make a substantial character out of our villains' car, which features a vanity plate with the word "hex" on it. The actors do a creditable job; Herrmann shines in what is really a very brief part, and Hicks and Le Mat are likewise very likable. (Le Mat has one standout scene where he's trying to make a connection with Billingsley.) And speaking of Billingsley, he also creates an endearing character and doesn't fall into the trap of being too cute. Good ol' Wilford Brimley is engaging as the local sheriff. But the show is stolen by Stephen McHattie who's as intense as he's ever been, and in fact he has one amusingly off kilter scene where he's intimidating our heroes as he stalks across the roof of his house. Another scene that the viewer will vividly remember is the scene with a corpulent babysitter who does little else besides stuff her face and then pay a big price at the hands of the killer. The thundering music by Dana Kaproff does its best to manipulate us, but what is far and away the biggest asset to the film is the on location shooting. The twist ending just comes off as a little silly. Overall, this is a passable time killer but no more. Six out of 10.

I remember someone saying that the killer was two people but clearly only listed one in the credits; thats because if you pay attention to the movie which that person clearly did not, or didn't even bother to watch the end; you'd realize in the beginning the sheriff and tow trucker were talking about 'twins'. which are played by the same actor!The movie is good for it's era'. It could have used a bit more work in where setting and plot was involved like going into more depth that the twins existed at all; but other than that if the movie was ever on big screen I wouldn't have paid to see it, renting it is a good choice, but I wouldn't buy it.

It's boring.It's slow.Where are the nasty and brutal murders? Where is the tension that is supposed to scare us? This is like watching Sesame Street without the funny characters of Ernie and Bert or Grover.It's really lame.Maybe it was the writing...maybe the direction...maybe the acting, maybe the editing, maybe the cinematography, maybe the special effects, maybe the makeup.Maybe all of the above brought this to something barely able to keep your eyes focused on.I wanted to get scared...not bored.This didn't scare me...it didn't even interest me...I had more fun watching the time on the microwave instead of watching this film.Don't bother to buy it..and if you see it on television by some freak chance, there is no need to tuck the kids asleep.