Promises--I generally avoid them, and yet I am beginning this review with TWO:
- I will not make any "Hostel"/hostile puns.
- I will not profess my panty-moistening desire to hump the balls off of director Eli Roth and bear his scores of love-children, even though I have received the memo that he's the new Bruce Campbell. Eli-Lovers, he is all yours (you're welcome).
I saw the first "Hostel" shortly-ish after its release in 2005 and disliked it enormously. While it was sleekly-lensed with above-par special effects work, I found that it drowned itself in the bucket of profoundly unlikeable characters and something akin to hardcore-BDSM-flavored homophobia (you know how THOSE PEOPLE are just lurking around every corner to pop out and GETCHA) in its Boy-Versus-Men-Becomes-Final-Girl construction. To boot--I didn't find its guignol to be grand enough to justify its reputation and therefore categorized it as a dud.
Why, then, do I have such a hard time explaining why "Hostel: Part II," which is kinda-sorta-really the same movie, left me feeling not-unpleasantly off-kilter and invigorated? It's a perfect example of why the success or failure of a horror film--or any piece of genre entertainment--lies in its details.
My disappointment with the first "Hostel" wasn't enough to dissuade me from investing ninety minutes of my Sunday morning in watching its sequel--the promise of Edwige Fenech and Heather Matarazzo (who I've admired as an actress since her heartbreakingly awkward turn in "Welcome to the Dollhouse") in one gore-soaked film was more than my cawfee-addled brain could resist. Even if the movie turned out to be an unpleasant exercise in physical excess (not that there's anything WRONG with that), I'd have cool stunt-casting to enjoy. In addition to the aforementioned actresses, this flick boasts Ruggero Deodato and Bijou Phillips--WORLDS ARE COLLIDING!!!.
Similarly to its predecessor, "Hostel 2" tracks three white, upper-middle class students on vacation in Europe who get waylaid by fascinating strangers with an alluring offer of cheap lodging and exotic adventure in Eastern Europe. This time 'round, our protagonists are three women: Matarazzo's predictably-sweet Lorna, Phillips' predictably-slutty Whitney, and Lauren German's kinda-hard-to-pin-down-but-definitely-wealthy Beth. Statuesque Vera Jordanova plays Axelle, the omnivorous artists' model who lures the ladies into the clutches of the Hostel owners. Yes, for those of us who have been without media exposure for the past five years, the "Hostel" films deal with the kidnapping, torture, and murder of young tourists at the hands of wealthy club members with an appetite for the cruelest of kinks.
I wasn't sure if casting women in the central victim roles in this movie would leave me feeling like the material was even more objectionable than on my first outing with the franchise, dealing as it would with the intense objectification of the female body as meat to be abused, but I found this film to be far more engaging than I'd anticipated. A few tweaks were put in place that made it all click.
The number-one BEST alteration to the structure of "Hostel 2" was to give a bit of backstory to the clientele and management of the hostel. Generally speaking, it's a bad idea to over-explain horror stories--the harsh light of reason really has no place in the World of the Weird. This movie is an example that tests the rule, though! By giving a face and a motivation to the people who shell out big bucks to work out their vicious, sexual fantasies on strangers, the truly ghastly nature of the hostel is underscored. Sure, the story arc of the two man-pals who travel together to the isolated thrill-kill bordello is telegraphed and obvious, but in a universe as lurid as this, that potentially-hokey plotline actually manages to work.
There are several places in which texture is injected that help keep the movie from being a sterile exercise in meanness. I needn't even explain how much delight it brought me to see Ms. Fenech's appearance as an art class instructor in the opening scene--she's lovely and spirited as ever, over 30 years after the height of her Eurotrash Cinema career. The film then moves the three lead characters onto a train which is filled with ominous figures from soccer hooligans to drug dealers to pickpockets. It's no secret that I dig suspense sequences set on trains, and this was a very well-executed one. I nearly squee-ed aloud with nerdy, in-joke delight when the girls got waylaid by a threatening group of men in a scene that evoked Aldo Lado's "The Night Train Murders." By the time they're being dispatched in the hostel, the film feels like a steroidal version of every "final girl" flick made since the 1970s.
Then there's that Elizabeth Bathory scene where Lorna is strung up by her ankles while a curvaceous female hedonist slashes her to death with a scythe. In a word--YIKES. I've seen my fair share of eroticized violence on film, but the sense of panic and dread expressed by the victim combined with the mounting arousal of the murderer are graphically conveyed. Add in hideously evocative sound engineering (echoing screams, the sound of metal on skin--EEK!) and here is a setpiece that literally made me squirm in my seat.
There are moments of pitch-black humor to the film as well that keep it from being an endurance test. Deodato's appearance will evoke smirks from fans of extreme horror, and the timing of some events during the murder sequences play out as if they were part of the most fucked-up cartoon you're likely to see. This probably makes me a pretty lousy person, but I had to stifle a giggle at the image of a kitty-cat sipping delicately from one character's neck stump.
Am I ACTUALLY recommending a film from the so-called "Torture Porn" subgenre that I had initially dismissed? Yes--you bet I am. Just be forewarned that you'll probably be wanting a hot shower after watching this nasty little flick. I know I did.
17 comments:
I did my review on Hostel 2 a few weeks ago and couldn't agree with you more. I found Hostel to be revolting but loved Hostel 2. It's a strange occurence indeed. I never remembered anyone saying Hostel 2 was decent so I was slightly embarrassed that I enjoyed it as much as I did.
I too enjoyed seeing the other side of Elite Hunting, the business men receiving texts about bidding while playing with their children at the playground. I also loved the way things played out in the end. Overall I was completely refresh by this sequel whose predecessor left me feeling gross and utterly unhappy about the future of mainstream horror.
Also helpful hint. Don't tweet about hating Hostel, liking Hostel 2 and wanting to have Eli Roth's babies. He likes to block devoted fans who tell him the truth about his movies. I still would like to have his babies however.
I know we've agreed to disagree on Hostel Part 1, Empress (I thought it had a lot more going on than people gave it credit for, and the unlikability of the characters was part of the design), but I'm glad you gave Hostel 2 a chance. I dug it also, for all the reasons you mention. I think Eli Roth's superfan-meets-annoying-frat-boy media persona/schtick (and I think it *is* a schtick--or at least I hope it is) prejudices a lot of people against his movies and prevents them from giving him credit for the things he does well. I enjoyed Cabin Fever as well as the Hostels, and will gladly watch whatever he comes out with next.
That said, I don't want to have his babies. Or Bruce Campbell's either, as cool as he is. I guess since I'm a horror blogger with a beard and no boobs, I'm thankfully exempted from that requirement. ;)
They made a sequel??? I saw the original, and that piece of garbage stunk up my senses so badly, I think I must have engaged some sort of mental blocking system against any/all subsequent releases.
I tend to hold grudges, but I brake for nasty gore, so maybe I'll give Part II a shot...
Andre, a few pals of mine had encouraged me to check out "Hostel 2," but I balked at the suggestion. Seriously, at this point I should know better than to doubt the tastes of Vicar at MMMMMovies and Kim at Cinebeats. They're smart cookies, those two! I'll take your Twitter hints to heart--poor Eli; his milkshake brings all the girls to the yard.
Vicar, I try to steer clear of the media interviews with a lot of horror personalities, so I'm blissfully unaware of the persona Mr. Roth projects. Maybe that's why I was able to in-good-conscience dial up this flick ;) He did sport fetching eyeliner in "Inglourious Basterds," though, so credit where credit's due WRT his image. But yes--topic at hand! I dug the film, I thank you for encouraging me to give it a whirl, and we shall continue to remain on civil terms in our disagreements. I'm wicked-good at playing nice with others, liebling.
Kitty my kupcake, I do urge you to give this a shot, if only for the Bathory sequence. TOTALLY relevant to your interests. I know what's good for you.
i saw it alone on a wednesday night in theatres, feeling like quite the creepy old man in a trenchcoat. i left with a song in my heart and promising to eli one of my eggs should he ever need.
hostel 2 demonstrates how smart 'torture porn' can be.
Meh. I thought this one was just as homophobic as the first film. In fact, I think it was MORE homophobic, something underlined by the presence of Heather Matarazzo in the Elizabeth Bathory scene. The fact that Matarazzo is a fairly prominent lesbian, and the nature of the violence in the scene made me squirm--and not in a good horror movie way-- while I wondered if the filmmakers were somehow punishing the actress herself instead of the character. Still, she seems to like her work in the film, so what do I know?
In the back of my mind, a voice tells me that these movies are interesting for the way they strip away the snotty, bourgeois privilege of our victims, but I can't say I enjoy it much.
I fell asleep during the first Hostel, then tried to watch it again and didn't really fare any better. I thought its buildup was incredibly slow, and unlike Wolf Creek (where the slow buildup actually made me CARE about the characters), I didn't really care what happened to the guy tourists in Hostel. And I certainly didn't understand why the responses to it were so viscerally "yay!" or "this SUCKS," since my overwhelming response was "meh." I did like the production elements and cinematography, though - that sort of grim urban squalor appeals to my dark little heart.
Hostel 2, as you say, is an entirely different ballgame. I didn't get much of a sense of sagging in the middle (or beginning or end), and the pacing was so much better than the first one! I've read some favorable reviews of it (though none from the fine folks in the links on your blog, yet) and the one bone of contention I have is that I groan a little at the references to Hostel 2 as a "feminist" film solely on the basis of its Final Girl ending. Guess I got enough dead-horse-beating subtext in college or something, it's a personal thing. I'm glad you liked it ;-)
Cathy, I'm wondering what song was in your heart! Maybe a kink klassik like "Warm Leatherette" by the Normal or "Master and Servant" by Depeche Mode...? But yes, I did think the movie delivered--did what it said on the tin, so to speak!
Doc M, you bring up a compelling point about Matarazzo's presence in the Bathory scene. Weirdly enough, I took her out status to be a subversive commentary on the perceived homophobia of the first movie. Creepy, dark, and mean-spirited, to be sure, but I guess her lesbianism actually made the scene more of a direct attack on that perception for me. You may be entirely right that there was no subversive intent from the filmmakers, and that it was another vicious 'phobic moment. When it comes right down to it, though, I don't think there's any virtue in viewing a movie that one finds to be just-plain-unpleasant. If there was, I'm still waiting on my medal for surviving "Nekromantik!"
Costuminatrix, I'd likely have dozed during "Hostel" as well, had Baron XIII not been spitting venom at the screen in a most unintentionally hilarious manner. Even the cool Takashi Miike appearance didn't salvage the proceedings. And... as to the FEMINIST thing, I would greatly enjoy educating the world at large on what feminism actually entails. There's a bit more to it than "yay a girl wins," as you so correctly point out...!
This definitely had a Day of the Woman (AKA I Spit On Your Grave) vibe to it and that's never a bad thing. Ultimately, I felt like this film had more sense and purpose than the original which, in a way, justified the gnarly-ness that was being viewed onscreen. Great review!
While I liked Hostel (and won't apologize about it), Hostel 2 is definitely the one I prefer--mainly because it involves the economics (and class warfare) of the situation: the split-screen auction sequence (a tribute to 1970s Robert Aldrich flicks, perhaps?) made me believe that Roth is more than just a good technician.
Great write-up TK; thanks!
i think "warm leatherette" would make an uber-hottt burlesque number if some performer were willing to go there. ;)
Kate, I always manage to stumble upon this one in its last half hour on one of the Showtime channels. This rump (or stump) version of Hostel II is more cathartic than horrific, and my guess is that a woman turning the tables on the torturers is automatically more "empowering" than whatever happened in the first film, which I haven't seen. Anyway, what I saw I sort of liked, and I probably owe it to the auteur of "Thanksgiving" to give both films a full-length try.
I seriously adore the first Hostel. Forget about torture porn and view it as a deeply funny, deeply black satire. It's the best movie about George Bush, The Iraq War, Guantanemo Bay, Abu Grahib and the dangers of unbridled capitalism ever made.
Watch it again, please.
Great write up and now I'm going to have to check this film out. I really enjoyed the first film, but didn't think it warranted a sequel. it's a bummer this tanked, becuase its failure jettisoned Roth's opportunity to make his adaptation of Stephen King's "Cell".
Also, the best moment in any Eli Roth movie is in Cabin Fever, when the little kid with a mullet yells pancake over and over again and busts out the slomo ninja moves
Planet of Terror, that's a great observation with regards to the story's sense of being driven by some sort of reason. By adding a soupcon of revenge to the proceedings, it amped up the escape plot as well.
Ivan, no apologies needed! Believe me, I live in a world populated pretty much entirely by what other folks would dub "guilty pleasures." And yes, the split-screen auction sequence was all kinds of great.
Cathy, your idea is so full of macabre WIN that I'm a little speechless right now...
Samuel, definitely give this one a shot. The climactic bits work very well in context of the lead-up. Well worth your time, sir!
Igloo Keeper, while I can't promise it'll skyrocket to the top of my queue, it's likely that I'll give the first film another watch. If only to see jerky people getting badly used by strangers :P
Mike, your description of this scene in "Cabin Fever" (which I have not scene) is just pure flipping poetry! You had me at "slo-mo ninja moves", friend.
This is a bit after the fact, but what makes Hostel II (which is basically a campy Little Red Riding Hood) so interesting for me is a personal thing -- if this film was shot in the 70s by some obscure Italian director how different would my perspective be? So different, in fact, that I watched the movie in French with English subtitles and liked it a lot more than I did the first time (these girls are a lot less broad when they're speaking another language, I think, which helps make the whole thing more satisfying), but I still have issues. Certainly the Hostel films are both black comedy (I'm really thinking a lot about how similar that impulse is to horror), but to me what makes II better than I is how Roth is looking more at himself and his own failings. Sure, the characters in Hostel I were unlikeable by design, but that doesn't mean it's a good idea, and for me it's not that I didn't *get it*, it's that I don't really get the appeal of getting jerked around for two hours. This is why I like Bava more than Fulci, for example, and why of Fulci's films my fave is Lizard In A Woman's Skin -- I *like* being entertained, and if a movie's premise depends on deliberately not being entertaining, well, go fuck yourself. I feel like Roth (in much the same way as Rob Zombie, with whom he shares a lot of affinities) is becoming more comfortable with himself as a director, and more indulgent (which I think is a good thing), but he's still kinda conflicted. This is something I thought about a lot with Tarantino's Death Proof (a movie that at once is very libidinal and at the same time very, very uptight) and Roth is very much in that same place. It's still black comedy, and maybe this is just me being an elderly curmudgeon, but I don't really need to feel miserable for two hours. Hostel II feels dark in the sense that a film like The Lion In Winter (which might seem like a stretch, but I think you get where I'm going) feels dark instead of dark like Saw 37 or whatever. I think Roth is starting to be more engaged with his films, though he still has a long way to go. Here's how I would explain the difference between the two Hostel films -- Roth is finally starting to dance with his hips and not just with his head. Anyway, great post -- there's not a lot of thoughtful consideration of this film.
Great review.
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