Craven has never been one to shy away from screen violence, and here it works in the film’s favor. The violence is not cartoony as in an Evil Dead or Quentin Tarantino movie. It is not over the top or unrealistic in any way. It portrays violence as it happens in real life. The same can be said for the rape scenes. The act is disgusting, humiliating, and foul. What’s interesting is where Craven aims the camera. It starts off on the victims, but each time veers off and lingers on those committing the rape. He doesn’t sexualize the rape for the viewer as often happens (see I Spit on Your Grave, or even Game of Thrones), but has them see, almost from the victim’s point of view, how revolting the act is. There is this great moment after the rape has been committed where Krug and company all look at each other uncertain what to say and bearing the slightest look of shame and disgust. Opting to focus the camera on the victimizers, rather than the victim was a bold, and, dare I say, brave move. It’s never really done. The camera always focuses on the victim, but audiences don’t need to be told what is going through the victim’s head and how they are reacting, because the audience is quite reacting appropriately anyway. No, audiences should see how the rapist deals with what they are doing, both in the moment and after it is over. What is shown is quite repellent, and forces viewers to stop and take a moment to deal with what they are watching for supposed enjoyment. These are real acts of violence that happen every day, and you should take a moment to recognize what you are gaining enjoyment from. There is nothing enjoyable about this scene and it plays to the film’s benefit.

It is interesting to see themes emerge in this film that play a part in many of Craven’s future pictures. It follows several strong female characters, which are often the center of Craven’s films. This film is no different. Mari starts off as the face of innocence, but grows quite swiftly, even trying to get Krug’s illegitimate son, Junior, to assist in her escape. Phyllis is a fighter, and features as Mari’s comfort, even as all these bad things are being forced upon her. Sadie, though one of the films villains, is both a genuine physical threat as well as a proud and impassioned young woman who stands up to the rest of Krug’s crew. Lastly, Mari’s mother is the one to uncover Krug’s identity and takes on two of the film’s antagonists in the white knuckle climax.

It features many more themes that would go on to be staples of a Wes Craven film such as; weaponizing your home– Home Alone style, the old fashioned parent and the worldly youth, suburban/rural crime, taking justice into one’s own hands, and the figure of the dark father/parent. On the film’s commentary, Craven said that he modeled Krug on his own father, and Junior was a representation of himself, to some extent.