Hostal

Just watched Hostel for the second time and thoroughly enjoyed it again though it meanders towards the end and doesn't deliver the catharsis that the degree of vengeance could. I think this is intentional though as we aren't supposed to identify with the characters in a good way, but recognise that their ignorance and chauvinism could be our own. The feeling achieved at the end is liberating in a different sense as in we are still free to heed the main message of the film, and tuck that money back in our wallet before we spend it on an immoral enterprise, such as sleeping with prostitutes who were forced into it, despite the carefree dogma of the age. Barbara Nedeljakova and Prague both look great as well. I liked the nod to the Wickerman, and the more sinister reference of the big ovens (the other thing i got was the feeling of getting more than you bargain for when you delve into a country's history and dig up some nasty stuff. This is particularly true when travelling.)

One final important point is that I think although many viewers will be able to identify to a degree with the blokes in this film, they aren't supposed to be entirely sympathetic characters.

It would seem from the majority of the comments on this film that very few of the people making these comments have any real insight into film production or what some film makers are attempting to communicate to an audience. With that in mind, here are some things I discovered upon viewing this film: (1) The story is new and unique. Thank goodness for any film that is not a sequel, a remake, or a film based on some decades-old television program. (2) The director uses the Xenophobia most Americans have about Europe and the citizens of those countries to very good effect. He plays on those fears, throws fuel onto that fire, much like Tobe Hooper did with rural areas in the U.S. in "Texas Chainsaw Massacre". (3) I was impressed by the build-up of uneasiness leading up to the torture scenes, the prevading sense of something "off bubble". If the characters had not been tenth-degree horndog party animals intent only on having a good time, they might have been more suspicious of the strange events taking place around them, which - in my mind - justifies the scenes of debauchery to show how oblivious these guys were. (4) A great number of things often have to be done in a film to appease The Studio. I saw several scenes that appeared to be included seemingly at the behest of The Studio for "saleability", and were not necessarily included for story-telling. There is also a desire to "one-up" each other in the Studio System, which publicly decries sex and violence while unofficially tells Producers to "give us more, and make it even more shocking than (fill in the blank)". All-in-all, while this film is not for the squeamish, it does have some things to say that create discussion and dialogue about a number of things, from how we view foreign cultures to how we treat each other. Any film that can generate that kind of thought while providing innovation deserves applause.

This movie is a clear step above most horror movies. It helps raise the bar for all horror movies by simply having a nice mix of movie elements that work well together.

Basically, the movie is about three American college guys who venture out of Amsterdam and into a region of Slovakia looking for more extreme female interaction. Once they arrive, they begin to suspect that everything may not be as good as it seems when one by one they start disappearing.

Although this seems like a typical horror plot, the movie is well-done and believable. The European scenery, interesting characters, decent dialog and fast-moving pace of the movie completely separate it from the typical "waste of time" horror movies.

I also give the director high marks for not making this a gore-fest and overfocusing on nothing but blood and guts. The result is that he has created a real movie - and a good one.

This is a pretty decent horror flick. If you're in the mood for this kind of movie and don't want a mindless slasher-fest, this will do nicely.

I just got back from an L.A. screening of Hostel. I haven't seen an effective horror film like this in a long time. My stomach was still knotted up after we left the screening. The last time I felt like that was when I saw ALIENS for the first time about 19 years ago. Since then, no other horror film has ever made me feel like that. I certainly didn't expect it from this one. As much as I loved Cabin Fever, I'm not blind to the shortcomings of its script. As such,I was expecting more of the same from Hostel - dark humor, gore, and a sense of dread. I'm happy to see that director Eli Roth has taken a big step forward in becoming a better storyteller and filmmaker.

Admittedly my heart sank when the film began. The scenes introducing the main characters were blandly shot and edited. All I could think was, 'Oh no. Roth succumbed to some unseen studio pressure to make a normal-looking horror flick'. The style was typical of the what you'd see in crap like I know what you did last summer. But in very subtle ways, the blandness gets washed away and as our heroes enter the threshold of Hell, the style of the film changes as well. This, I learned during the Q&A afterwards with Roth, was intentional.

If you've read some of the other reviews posted here from people who saw it at the Toronto Film Festival, you get the general idea of the story. Contrary to what you might've heard, this is not a 90 minute film on torture. The torture scenes are brief and to the point. Roth doesn't wallow in pointless gore. And this is where I think it shows how he's improved as a filmmaker. He's more interested in scenes and ideas that move the story forward. Yes, there is plenty of gore, but it's relevant to the story and doesn't exist just for it's own sake.

One of the aspects of this film that made it so powerful was how Roth created a sense of helpless and inevitability. He provides the dark setup, throws in a sympathetic character, and begins twisting the screws and ratcheting up the suspense. This isn't a movie where you turn off your brain to enjoy it. On the contrary. The more you think about it, the more horrifying it becomes. You begin putting yourself into the character's situation and wondering what you'd do. When you realize that there is no hope for the character, no way to escape, no 'buddy' who's gonna turn up at the last minute to save the hero, and not a shred of humanity or compassion to the antagonists, real fear begins to set in.

Another great element in the script is how the 'survivor' makes moral choices that define their character. Instead of being merely reactive like the characters in Cabin Fever, the survivor makes several decisions which change the course of the story. It's a sign of well thought-out script and a filmmaker who cares about the fate of his characters.

For horror fans, this is an absolute must-see. It's so refreshing to see a horror movie that actually makes you feel uncomfortable and one in which you have no idea what's going to happen next. As for the gore, I was surprised by what they got away with. Although there were no credits at the end of the film, the cut I saw was rated R by the MPAA and according to Roth, he didn't cut anything out.

This movie really could have been so much more. The idea would have been much better off with someone who actually wanted to make a decent movie, instead of a porno gorefest. The first half of the movie consists almost entirely of sex, talk of sex, drugs, and talk of drugs. Instead of, hey, maybe develop the characters a little so the audience might care about them and make their plights a little more tense, the filmmakers decided to have a lot of party scenes and annoying main characters acting like idiots until, uh oh, we didn't plan on being tortured, oops! The sad thing is, there are hints of something more intelligent beneath the surface, but the surface is piled so high with garbage that it's lost. For example, while at a sex club (wow, original!) one of the characters mentions something along the lines of "paying to do anything you want to a person," of course he means sexually, but we know the basic plot of the movie involves the same concept with death and torture instead of sex. One of the characters is supposed to seem like a nice guy, but still never really develops enough for us to care. The main character has absolutely no depth other than a childhood story and his shallow interaction with his friend. The last half or so of the movie actually starts to gain momentum, and the first half not been an entire waste of film, I could have walked away with more than a feeling that I'd just watched 15 minutes of an okay movie, and an hour and fifteen minutes of porn and senseless gore. Sadly enough, the idea of this movie was put into the wrong hands. A little less than halfway through, my friend turned to me and said, "Maybe I picked up the wrong movie..." to which I replied, "Yeah, I think you got Eurotrip by accident." I am baffled as to why they decided to write the first half like they did. I guess I was hoping for something deeper. Don't watch this expecting anything special, be ready for lots of nudity and lots of incredibly disturbing gore mixed randomly, the two not even seeming to fit like they would in a slasher flick.