oddly enough, it's these stymied conventions (in collaboration with Roth's stomach-turning fearlessness) that give Hostel II such an atmosphere of doom. our protagonists' fates aren't going to hinge on the stupid decisions that drive so many slasher films, nor will they escape by pure luck or panicked cunning; their doom is signed, sealed, and delivered the moment their passports cross the hostel's front desk. but within these confines, the audience, too, is cornered, subject to the film's cruel, largely unpredictable whims, from the harrowing, nauseating Bathory centerpiece (followed, true to form, by a sharp Eisensteinian gag) to the mercilessly nutty ending. Hostel II is in no uncertain terms unfit for general consumption, but it also reaffirms Eli Roth as horror's reigning enfant terrible, revitalizing the stagnant gere while beating its hacks at their own game.
Sunday, June 10, 2007
eli roth's HOSTEL PART II (2007)
oddly enough, it's these stymied conventions (in collaboration with Roth's stomach-turning fearlessness) that give Hostel II such an atmosphere of doom. our protagonists' fates aren't going to hinge on the stupid decisions that drive so many slasher films, nor will they escape by pure luck or panicked cunning; their doom is signed, sealed, and delivered the moment their passports cross the hostel's front desk. but within these confines, the audience, too, is cornered, subject to the film's cruel, largely unpredictable whims, from the harrowing, nauseating Bathory centerpiece (followed, true to form, by a sharp Eisensteinian gag) to the mercilessly nutty ending. Hostel II is in no uncertain terms unfit for general consumption, but it also reaffirms Eli Roth as horror's reigning enfant terrible, revitalizing the stagnant gere while beating its hacks at their own game.
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