Možda je već vreme da HOSTEL dobije svoj topik.
Ja sam još uvek sumnjičav – gorak ukus koji mi je ostavio CABIN FEVER nakon višemesečnog hajpovanja sa svih strana dovoljan je za razumnu skepsu – ali rivjui poput ovog dole lagano rastapaju moju sumnjičavost i otvaraju me ka mogućnosti da ovo možda, nekako, ipak može da bude vredan, pa možda i više od toga, žanrovski naslov.
Jedno je sigurno – KRIPLE+PLISSKEN će ga voleti ako je pola ovoga dole istina. Ahh, who am I kidding!? Voleću ga i ja, naravno - AKO JE ISTINA!
AKO!
It's brutal, shocking, difficult to stomach, and hell-bent on making you squirm in your seat. Hostel pulverizes everything the genre has seen in quite a while and clearly indicates Eli Roth has arrived as a talented genre filmmaker. It's filthy, vile, grotesque, and unhinged. There's no question Roth set out to make the most profoundly daring and unsettling horror film of the decade. Hostel is ferocious entertainment, a spectacularly intense display of cinematic brutality and malice, not to mention the most juvenile sex fantasy that movies have seen in quite some time. Honestly, the film is reprehensible by any moral standard. It's mean, gratuitous, relentless, and gritty. It loves its sex and violence and is determined to cause you pain and suffering. Hostel is incredibly suspenseful, even frightening at times.
If you're a fan of Cabin Fever, let me make it perfectly clear that Hostel is basically the polar opposite. I enjoyed Roth's debut for its comedic value, but was more than under-whelmed by its horrific side. Roth has made leaps and bounds as a filmmaker since his directorial debut, blending the laughs and horror with seamless ease throughout the entire picture. Even when the film becomes an all out nightmare, Roth still understands how to make an audience snicker. And let me tell you, Hostel certainly becomes a nightmare. We were presented to an NC-17 cut of the film, which I imagine will be its final rating no matter how much is trimmed. The only possible way for Hostel to get an R rating is if Eli Roth releases the "family" edition, shows you three seconds of the lead actors touring Europe, and then immediately rolls the end credits. I don't think a minute passes by without a shot of nudity or graphic sex or hardcore violence. Hostel is just that type of film. It's like Eli took John Carpenter, Tobe Hooper, William Freidkin, Paul Verhoeven, Quentin Tarantino (who presents this film), and Takashi Miike(who makes a cameo), blended them together and forced them to create the most savage cinematic monster we've seen in ages. The film is genuinely unsettling, with nothing forced or gimmicky. And that's not to say it's perfect. I have two major problems with the film, one involving the surprisingly anti-climactic ending. I'd like to keep this review in general terms as much as I can, since spoiling the plot is a great disservice to the film.
Basically, three friends are touring Europe on a quest to get laid. A lot. As you can guess from the title and genre, they arrive at a Hostel that isn't exactly what it seems to be. That's all you should know. Honestly, don't read spoilers for this film. You will be shocked at what you see. The gore effects by KNB are insanely good. I love that Roth takes his time setting up the characters, setting, and atmosphere. The first half of the film is fun and games, with more sex than Eyes Wide Shut.
By the time the first terrifying act of cruelty is unleashed, it hits you like a fucking freight train. It's pure horror filmmaking. It feels claustrophobic and real. Even though buckets of blood are spilled, it retains that sense of realism and terror without becoming over the top or cartoonish. More importantly, Roth films and paces the violence almost brilliantly. There's nothing flashy or artificial. Nothing that calls attention to itself. Roth makes sure you witness the carnage in the most uncomfortable of ways. There's a torture sequence(not the first one) later in the film that is absolutely scary. It's suspenseful, horrific, and filmed, edited, performed, and scored perfectly. It's genre filmmaking at it's finest. I promise none of this praise is hyperbole. I'm not the biggest horror fan in the world, and I was still impressed at how powerfully cinematic it was. The score is pretty standard for the genre, but man, in that one sequence it's killer. That's all for spoilers, as minor as they were. Now, I was told a different ending was written and filmed that's supposedly much more satisfying than the one I saw. I admire what Roth attempted with the final moments of the movie, but unfortunately it lacks the punch that's necessary for a feeling of closure. It's dark though, I'll give him that.
Hostel is one of the best genre films of the year. I can't wait to see how mainstream audiences and critics react to this beast. Eli Roth has arrived.
Ne znam koliko se uopšte može vjerovati tom Eli Rotu kad je riječ o OZBILJNOM hororu, ali ovaj revijev sigurno obećava.
:( :cry: ej stvarno beze pljujete po čovjeku :roll:
Ma to je Roth platio nekog da napise dobar review. :wink:
I kako su uopste napisali recenziju kad je film zapravo jos uvek u produkciji? A i ovo ne lici na recenziju, pre lici na cistu reklamu, i to onu koja film proglasava kontraverznim i uz manijakalno mnogo spominjanja reci sex, ubijanje, nasilje, monstruozno, sokantno, bizarno, poremeceno i slicno, sve s ciljem da se kod gledaoca probude oni najnizi instinkti, ona zelja za gledanjem "zabranjenog", a to se krije kod svakog.
Sta ako na kraju ispadne neki Petak 13 u verziji 21 veka?
Ili novi Cabin Fever ali sa vise mladih glumaca koji lice na fotomodele sa puno puno seksa izmedju njih, i sa eksplicitnijim prizorima ubistava i mnogo vise kukuruznog sirupa... ups, pardon... krvi?
čisto savršenstvo :!: :!:
Quote from: "Bilja"Sta ako na kraju ispadne neki Petak 13 u verziji 21 veka?
Ili novi Cabin Fever ali sa vise mladih glumaca koji lice na fotomodele sa puno puno seksa izmedju njih, i sa eksplicitnijim prizorima ubistava i mnogo vise kukuruznog sirupa... ups, pardon... krvi?
Works for me.
Osnovni problem Cabin Fevera su dvije stvari:
1) Premalo seksa
2) Premalo krvi
Ako Eli uspije to da ispravi u ovom filmu, biće dobro. Samo da zadrži onu bizarnost koju je Cabin Fever imao zahvaljujući nebuloznom scenariju.
Neko vreme sam želeo da verujem da je onaj smrdljivko eli roth IPAK uspeo da napravi DOBAR horor sa hostelom.
eh...
posle ovog rivjua, koji zapravo potvrđuje ono što sam ionako očekivao, bazirano na C. FEVER – nade su presahle.
Sasvim verujem da je roth napravio BAŠ OVO što ovaj pronicljivi rivjuer zapaža:
Hostel
[USA; Eli Roth]
Eli Roth has said that when he sat down to write Hostel, the idea was to cram as much of the sickest stuff he could come up with into a single script. After seeing the film, I can only say that if that's the case, horror needs a new poster child. Hostel is pedestrian and surprisingly shock free, at least for a seasoned horror audience. I was far more put off by the ritual in Drawing Restraint 9 and the conclusions of Pusher 3 or The Wayward Cloud, none ostensibly genre films.
But if something seems too good to be true, it probably is. That applies not only to the idea of Eli Roth making a credible follow-up to Cabin Fever, but to this premise.
A trio of boneheaded backpackers -- two horny Americans and one swinging Icelander -- are in Amsterdam looking to get laid. A skeevy kid marked by a cold sore the size of Kansas City directs them to a remote Slovakian village where, he says, there's a hostel with the sexiest chicks in Europe. Here's a tip: avoid banging people recommended by the guy with visual signs of herpes. But off they go to sex and mutilation...as if we expected anything else.
Hostel is a paranoid nightmare, generally based around ideas like (a) Americans really are dicks, (b) Europeans really do hate them and (c) will take time out to dismember a few when the opportunity arises. But to be compelling to anyone but the paranoid, the delusion has to be plausible, and Hostel is just silly. I can't see fearing a situation where people are led to their deaths when said people are as dumb as the ones in this movie.
Anyway, upon arrival, the trio find themselves sharing a room with two hot and mostly naked Euro babes. It's like Logjammin'. Sherri didn't just come over to use the shower, but you get the idea. Two of our three heroes gladly accept the idea that these girls really are just there to fuck and forget. I already disliked them for their superficial blankness, and now I despised them for buying into such a stupid plot.
But how else to lure the kids down into the darkened room where a pool of blood wets the floor around a torture chair? For that matter, a torture chair? This film throws in several, plus guys in moderately ominous bibs and masks. Any aspiring flick revolving around a torture scenario has got to be on par with Mark of the Devil, or at least that Nine Inch Nails video with Bob Flanagan. Hostel isn't.
Even when circumstances become dire, there wasn't any tension. Roth eliminates too many characters too early, until we're left with only one person who can carry the movie. How can anything terrible happen? If it does, the movie is over, and my watch told me the time hadn't come. Dude, relax -- you're safe. Basic laws of mediocre screenwriting have saved your unworthy ass.
So...the gore. Some cutting, some snipping, some drilling, much of which takes place off screen. There's a nasty bit with a blowtorch, the aftermath of which is the worst thing in the film. But when a movie supposedly full of sick effects only contains one truly cringe-worthy scene...well. The hype machine is already working in Hostel's favor, and all I'll advise is: be wary.
Beyond the lack of gore, though, was the refusal to really tackle any of the ideas in the movie. As soon as the obvious aspects of the hostel situation are exhausted, Roth moves on to a variant on the oldest action movie plot in the book. Here, there's the potential for some interesting situations, but again the movie avoids the chance to entertain some really intense character showdowns. Meanwhile, he plays with weird tangents like a pack of criminal children who relent when paid off with bubblegum. Eli Roth is an enthusiastic filmmaker, and he obviously likes horror. I'm still pulling for him to make an effective, convincing flick, but this isn't it.
Pattern je isti: veliki hajp, intrigantna premisa, velika obećanja – a na kraju – pfffffftt!
Ne znate Elija sve vishe je opasan :evil:
Koga zanima, HOstel se upravo pojavio na RottenTomatoes sajtu sa sve fotografijama iz filma i trejlerom. Dato je svega par review-a iz razloga sto je film jos nov, ali ostavlja utisak da je u pitanju oko sat i po vremena gledanja kanibalske mesare i/ili splatersko-sadistickog mucenja ljudi pred publikom.
Iako volim da gledam horore, ovo verovatno necu gledati osim ako se ne resim da postanem bulimicarka na narednih nekoliko dana iza filma. Ako ovo nekom zvuci kao reklama, mogli bi da se jednom zapitamo a zasto mi zapravo zelimo da gledamo kako ljude muce, tranziraju i ubijaju (tim redom) ako je i fiktivno. Sto se mene tice, horor i suspenzija su odlicna stvar, pogotovo kasno uvece ili nocu :twisted: ali bas da uzivam u scenama u kome nekom motornom testerom... ili busilicom... ili cime vec... Vise mi se svidja ideja da se kreira jeziva atmosfera, naznake da se nesto grozno desava, a da se zapravo samo naslucuje, da se deluje na mastu gledaoca a ne da mu se u okice direktno bacaju unutrasnju organi i udovi. Sigurna sam da ce neko vec gledati ovaj film i napisati ovde opsiran komentar. U svakom slucaju, fotke su vam na imdb i rottentomatoes-u, a imate i trejlere, pa neko ce vec gledati i napisati sta misli.
Meni je CF bio OK... Nishta posebno, ali OK... HOSTELU ću dati šansu.
1MOREthing: ne bi me začudilo da Elija angažuju da režira jedan od filmova u drugoj sezoni GOSPODARA HORORA. Ako su Lakija selektovali za prvu...
Internacionalni poster za Hostel je... Zapr@vo, ne mogu da pronađem odgovarajuće reči koje bi ovo opisale. Prosudite sami.
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.moviesonline.ca%2Fmovie-gallery%2Falbums%2Fuserpics%2F%2FHostelGermanPoster.jpg&hash=31de69af7d03f6157503eafa785fb2ab682c0309)
:arrow: :arrow: :arrow: klasični odlazak zubaru :arrow: :arrow: :arrow:
Socrealističan?
Jugoslovenski iz sredine osamdesetih?
Loš?
god damn!
OVO se zove dobar poster!
(samo još da je i film takav...)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.aintitcool.com%2Fpics%2FHostelchinese.jpg&hash=033956a9138c6f3a31bc3f460d65486bf6808c78)
A evo i glamur varijante...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.aintitcool.com%2Fpics%2FHostel-BarbaraPoster.jpg&hash=4c19053180c161b24ced7783c2158db88ca377ee)
da malo dignem topik, vreme je
jos samo malo, malkice... :!:
Na AICN-u je osvanula Harijeva, očekivano pozitivna, kritika.
Nego, je l sam ja to paranoičan ili mi se čini da sa ovim vaskrsavanjem hard R horora postaje sve bučnija i ona struja koja te filmove otpisuje kao varijantu pornografije? U Americi početkom osamdesetih mnogi su klasici žanra bili žrtve te retorike, a kasnije tokom dekade horor se i pomirio s dodeljenom mu etiketom i preselio na police video klubova. Ne bih voleo da se istorija ponovi, ali ne mogu a da ne primetim da se čak i među gikovima sve češće čuju oni koji filmove kao što je SAW, HOSTEL i sl. ni ne ubrajaju u horor, već klasifikuju kao neku vrstu kvazi-snafa za "bolesne" individue.
može kogod hoće za svoj groš, i u društvu svojih kafanskih prijatelja, da te filmove 'ubraja' ili 'ne ubraja' u horor, ali oni to JESU : iz istog razloga iz koga je tzv. 'objašnjeni gothic' (bez natprirodnog) - u kome su često nasilje i svakojaki sadizam bili jedini horor – oduvek bio deo horora; tradicija contes cruels takođe postoji u okviru horora ODVAJKADA, još od nemačkih romantičara, a vrhunske domete dao joj je E. A. Po.
na prelomu XIX/XX veka grand guignol teatar je takođe imao jaku ulogu za razvoj horora i uostalom koristio je horor priče za svoje scenarije, itd. itd.
slasher-splatter film ima svoje korene u Hitchovom PSIHU, i da ne nabrajam više – estetika ŠOKA i GROZE oduvek je bila neraskidivi deo tradicije horora, zajedno sa suptilnijim emocijama strave i jeze, i samo totalni neinformisani idioti mogu da na svoju ruku, iz svog dupeta, vade neka svoja određenja po kojima to 'nije horor'.
ja kažem: NIJE NEGO!
što se tiče nove poplave haRRRd R-a mogu da zapazim sledeće:
-naravno, drago mi je što PG-13 'horor' posustaje
-ali ne zavaravam se jer je ovaj plimni talas takođe marketinški, pragmatički, OPORTUNI
-a potonji kvaliteti nisu nikada išli zajedno sa velikim filmovima, pa tako ni hororima
-zbog toga, ogromnoj većini novih HR horrrrora nedostaje istinski vajb, istinski EDGE koji su imali njihovi uzori iz 70ih: ovim mislim i na precenjeni (na ovom forumu) WRONG TURN, i na TCM rimejk, i na C. FEVER, i na 1000 leševa – i zapravo je jedino DEVIL'S REJECTS prišao blizu tom ugođaju, i jedino je HAUTE TENSION stvarno radikalno, i inteligentno, i žestoko uradio nešto svoje, novo, a u tom duhu (te zato najveće nade polažem u nova BRDA; za HOSTEL želim da verujem, ali ipak ostajem skeptičan)
-glavni nedostatak većine današnjih USA filmmejkera je što prosto nisu dovoljno BESNI, nisu dovoljno autsajderi, nisu autentično sicko (poput Miikea ili Noea, npr.), pa su zato njihovi kvazi-hard R horori još uvek POZERSKI (a to pre svih važi za hipertilizovani SAW – u kome estetika video spota ubija svaki pravi saspens ili udar u stomak koji bi, suzdržanijim konceptom i dokumentarističkom režijom, mogao da postigne: školski primer: prva scena u SAW II – odlična, morbidna ideja, koja nema nikakav IMPACT niti dramu, jer je montirana i snimljena kao spot NIN ili Merilin Mensona; naravno, ja volim te spotove, ali FILM ima druga pravila i treba da apeluje na druge strune, drugačijim metodama...).
-eli rot je, dok ne dokaže drugačije, POZER.
-zbog toga, ne sumnjam da će mamba da bude oduševljena HOSTELOM.
:wink:
tacno dve godine [i koji dan] kako sam u US, posecujem bioskop prosecno jednom nedeljno... ovo je prvi film do sad za koji su na samom ulasku u bioskopsku salu trazili ID! i onda rekoh, damn, film mora da je zaista nesto, kad ono...
- jedan Kill Bill ima bar 10 puta vise krvi nego Hostel
- jedne Petparacke Price imaju bar 15 puta vise narko scena nego Hostel
- jedan Saw [1] mi je bio bar 20 puta tezi nego Hostel
itd...
film mi se u sustini jako dopao, ali sam zaista ocekivala puno vise.. mislim da ima i previse happy end-ova, verovatno je zbog toga zapravo svarljiv: mislim da su time znatno ublazene sve te krvave scene, a nema ih puno..i nisu previse razvucene/duge. osim toga, jesu gadne, ali, hmm, nekim cudom nisu delovale onako kako sam mislila da ce delovati.. kao sto rekoh, jedan Saw mi je bio mnogo tezi....prva polovina filma je cak sta vise skroz laganica, zajebancija, opusteno.... duvka, sex, fun i tako to.. onda se radnja najednom desava, oops, mali klishe...
besh ga, i ocrnise jadne Ruse i Slovake.. bogme i Holandjane.... znam nekolicinu Amera koji stekaju novac za provod u Amsterdam, mislim da posle ovog filma nece bas imati tu zelju :lol:
inace bilo je par scena koje su dobile nevidjeni aplauz od publike.. u korist Amera, naravno.... osetila se razlika malo izmedju Evropljana i Amera, mislim, ovo je ipak samo film.. al kontam da je tu negde zapravo pokupio dooooobre pluseve/ocene.....
sve malo netipicno za Tarantina...
i kao sto rekoh, ocekivala sam zaista puno vise, ali i ovako film je... C+.. hmm, jeeeedva B-
vidim da neke kritike optužuju HOSTEL kao preterano ženomrzački film – šta imaš da kažeš o tome, mambo? da li je tvoje žensko biće bilo uvređeno tretmanom ženskinja u filmu?
da li je bilo gužve u bioskopu, i imaš li utisak da je publika uživala i zadovoljna izašla s projekcije?
NEMOJ DA SPOJLUJEŠ, ali reci – da li je kraj dobar, ili glup kao u CABIN FEVER?
zenomrzacki? hmm, svasta... licno i personalno - uopste nisam stekla takav utisak...
inace, nije mi bas bilo jasno zasto ima samo 4 projekcije na dan [u najboljem bioskopu], mozda je zato sala bila prepuna... karte smo uzeli na rizik da ne nadjemo mesta jedan pored drugog
publika je reagovala malo zesce, da.. culi su se komentari na odredjene scene, kao i aplauzi koje sam pomenula
a kraj...... ne znam da li je glup, ali, recimo, nije uzbudljiv
OK, ovo što sledi JESTE DUGAČKO i detaljno, ali verujte da vredi truda: vrlo ubedljivi argumenti i način razmišljanja ovog lika kao da potvrđuju moja najgora strahovanja vezana za ova 2 horora – hostel + wolf creek.
WOLF CREEK (2005)
*1/2 (out of four)
HOSTEL (2005)
** (out of four)
When I say that I enjoy a nihilistic film on occasion, I don't mean movies that aren't about anything. There are films that adhere to the philosophy that life is meaningless, that there's not much hope, that we might be in Hell or, better, a godless maelstrom of happenstance and entropy. And then there are ostensibly nihilistic films like Wolf Creek and Hostel that are more accurately examples of nihilism. Both inspired by real-life events*, they seem to use their basis in fact as protection against not actually telling a story with gravity or purpose. They're not governed by a prevailing philosophy or buoyed by any artistry--they have nothing beneath their grimy veneers to reward a careful deconstruction (though we'll try). Worse, they know only enough about their genres to (further) discredit them in the popular conversation. I look at these films as though I were observing an alien artifact, an insect with solid black eyes. If there's intelligence to them, it's not a kind I understand.
There's no hint of existential conundrum in these pictures--and although my saying that may cause you to roll your eyes, consider that the best grindhouse films (The Texas Chain Saw Massacre, Henry: Portrait of a Serial Killer, Last House on the Left, The Hills Have Eyes, Black Christmas, Deliverance, The Evil Dead, and so on) have something going on under the skin whether you care to engage it or not. What Wolf Creek and Hostel have is one already-notorious scene apiece and a lot of nothing going on in their ugly, empty little heads. They're cinema as punishment, providing no vicarious thrill; like the televised geekshow "Fear Factor", they just ask the question of how much can you take before you turn away. You watch them, you feel sorry for and superior to the filmmakers and the kids laughing for the benefit of their friends, and then you tell everyone you can that there's a difference between good, terrifying, nihilistic horror flicks and stupid exercises in braggadocio such as Wolf Creek and Hostel.
Besides their simultaneous release in U.S. theatres, the two films have in common a resentment of tourism, a victim waking up bound and gagged after being drugged, and gags involving severed fingers. Wolf Creek is partially set at the semi-titular park (as in Australia's "Wolfe Creek Crater National Park"--the spelling change meant to facilitate a "big bad wolf" read, maybe, or to soothe an international audience that's also supposedly queasier with words like "philosopher" replacing "sorcerer"), the world's second-largest meteorite crater and a place of such awesome natural foreboding that I wondered during the picture's leisurely first hour whether debut hyphenate Greg McLean had modeled his picture on Peter Weir's Outback creeper Picnic at Hanging Rock. Such intimations to greatness are hamstrung, though, first with a few incomprehensible party scenes that establish the bizarre love triangle between Aussie Ben (Nathan Phillips) and British birds Liz (Cassandra Magrath) and Kristy (Kestie Morassi) and later with the actual charnel house of the film, wherein Wolf Creek reveals itself as having no new ideas and runs out of old ideas fast.
Somehow this neo Jack, Janet, and Cindy agree to go for a day-hike to the crater. They talk about meteorites and alien abductions, and then when their car battery is mysteriously as dead as their watches (thank goodness for those non-electrical Aussie flashlights, eh mate?), who should swoop in as their salvation but good ol' boy Mick (John Jarratt, in a performance that elevates the film) by offering to tow them to his workshop for a little tune-up. Savvy genre blokes will prick up their ears not only when Ben's sexuality is challenged by a bunch of inbred locals at the Last Gas Station (and again by Mick, proclaiming Ben's hometown of Sydney "the poofter capital of Australia"), but also after Ben does what no one--especially not a fellow POME--should ever do and compares Mick to Crocodile Dundee, prompting Mick to lament the proliferation of feral tourism. This is to no good end, however, as Wolf Creek isn't terribly interested in either the oppressive indifference of the Natural or the offense that the city mice commits against the country mouse, or even the sexual politics of a male challenged and women threatened. It's not something as noble as a film that defies genre convention so much as it's a frantic pastiche that hopes there's a spark of life left in one of the sewn-on transplants. I'd been looking forward to Wolf Creek from the moment it debuted at the Sundance Film Festival to a few quiet raves; what I should have considered is that Saw bowed to similar festival buzz last year.
Still, Wolf Creek is a model of restraint compared to Eli Roth's Hostel. I had a fair share of affection for Roth's writing-directing debut Cabin Fever, seeing in it a refreshing honesty about his love for traditional spam-in-a-cabin flicks that I thought carried it over some of the (perhaps) intentionally shoddy filmmaking and a layer of Jackass crudeness and hostility. Hostel's a middle-finger flipped at every single thing that makes films like this worthy of deeper examination and, more importantly, the carriers of genuine unrest and discomfort. It lurches along with a wilful rejection of intelligence and sensitivity for fear of emasculation--"pussy" and "faggot" the two words its heroes use most often in Hostel's and thus, as Dr. Phil would tell you, the two things author Roth probably most fears that he is. The result of that puerility in its creation (maybe creator) is a film that bends over backwards to punish women and homosexuals; Hostel is unrepentantly, unselfconsciously leering, and so ugly on the topic of gay men that it reserves its nastiest, ugliest punishments for quiet schlep Josh (Derek Richardson) and the older Dutch man (Jan Vlasák) in whom he may be interested. Tellingly, the one vivisects the other before encountering his personal Waterloo in a train station's public water closet, his pants around his ankles and his head in a toilet full of his own waste. It's where queers go to die in movies made by homophobes. For more eloquent commentary than I'm capable of providing of the damage done by this kind of image, look to a bathroom murder scene in Hellbent.
It begins as the Last American Virgin remake Roth's been threatening us with as a trio of college-age hedonists, on a budget and armed with a europass, frequent the ganja bars of Amsterdam just prior to going window shopping in the Red Light District. The usual suspects: the wild party guy is Icelander Oli (Eythor Gudjonsson); the devil-may-care daredevil is Yankee Paxton (Jay Hernandez); and the delicate, budding writer recovering from a break-up is fellow Yankee Josh (Derek Richardson). After getting locked out of their hostel, they find themselves in the apartment of a seamy Russian who advises them to take a train to Bratislava, where the women are beautiful and desperate. Sure enough, once they're in a gothically-appointed hostel, a pair of Russian beauties (and why are Russians staying at a Russian hostel? Who cares, right?), Natalya and Svetlana (Barbara Nedeljakova and Jana Kaderabkova), accidentally (oops!) flash their tits, invite the boys to a spa, and then flash their tits on purpose. Yet apparently these girls have more on their minds than fucking (but fuck they do, don't get me wrong)--seems they're paid a lot of money to deliver young men to a shadowy network of flesh peddlers who sell rich international businessmen the opportunity to torture someone to death.
Japanese girl Kana (Jennifer Lim) has an eyeball plucked out in slow-motion, quails at her appearance, and kills herself by jumping in front of a train. Yeah, she's vain, but is there anything to the notion that the loss of her eye is speaking to an objectification subtext? I doubt it. Hostel revels in its venality and arrogance, rubbing it all over itself like the gouts of blood it uses to soak every non-victim in the picture. It's posed itself as a piece owing a debt to the Japanese shock cinema of Takashi Miike (himself a bit player in the film) when it really owes more to the gore/schlock cinema of Herschel Gordon Lewis. For whatever you can say about Miike's pictures, not a one of them (and he's been known to churn out up to five a year) would you describe as empty, sadistic capering. Hostel can't be a commentary on sexual tourism because it is sexual tourism; it can't be a commentary on exploitation of women and virulent gay-bashing because it's those things, too; and, ultimately, it's neither as scary nor as funny as it wants to be, because it's just a cheap bit of garbage and everyone, even or especially the people who'll like it best, knows it.
But there's a catch--and the catch is the torture scene of anti-hero Paxton, whose humiliation Roth shows in bald, intimate detail. There's a suggestion in this lead-up that Paxton is "unmanned"--turned into the "pussy" he cavalierly calls his dead friends in bonhomie and goading. And so, in the calculus of his lizard brain, he's been degraded in a more significant way than dissection. He delays his own demise (and facilitates his escape) by showing off his bilingual ability, confusing his German tormentor with pleas for his life in his native tongue and, in the process, identifying a theme of ugly-Americanism that works as a weak undercurrent in the film. If Hostel fails to add much to the conversation about voyeurism and sexual identity in the slasher genre, at least it manages in spite of itself to suggest in a meta way how Americans piss off the rest of the world not just with their politics and their arrogant ignorance (note that in Syriana, another film with a disgusting torture sequence, one of the emir's men says of the Chinese that at least they learn Arabic to deal with them in business), but with their affluence and sense of entitlement, too. It doesn't make Hostel a good film--but it does make it worth a conversation.-Walter Chaw
*Just as Wolf Creek is based loosely on Australia's Backpacker Murders, Roth and producer Quentin Tarantino claim to have found a Thai website advertising "murder vacations" for ten grand, thus inspiring their collaboration on this project. Go to Crime Library to research the Backpacker Murders case, by the by, and note that two of Ivan Mital's victims are dead ringers for the actresses in Wolf Creek. Merry Christmas, families of the bereaved!
:(
B-D reader Withdecay sent in a really interesting e-mail, which obviously we cannot verify as true- but what if? He writes, "A gag, or the real deal? I went to the 7:00pm showing of Lionsgate's Hostel at The Breeze in Gulf Breeze, FL. During the movie a man about 35 years old passed out and fell down the stadium stairs from passing out due to the movie being so graphic. The movie was stopped for about 20 minutes while the paramedics had to take him out in a stretcher."
Čovek je verovatno pojeo nešto pokvareno. :wink:
Prvog dana prikazivanja Hostel je zaradio 7,6 miliona. Ocekuje se oko 19-20 miliona dolara zarade za prvi vikend!
Weekend Gross
1. Hostel $20.1M
2. The Chronicles of Narnia $15.4M
3. King Kong $12.5M
Gore navedene brojke sasvim jasno kazuju da Holywood ima novog kralja horrora i da je njegovo ime Eli Roth.
xkoenig
Uz to, ovo označava povratak R horora u bioskope.
P.S.
Pošto je ovo moj 666-ti post, predskazujem Rothu dugu vladavinu.
Long Live The New King!
Quote from: "Dr Kunac"ovo označava povratak R horora u bioskope.
Long Live The New King!
da budemo precizniji: ovo je povratak banalnog, sirovog horora za ljubitelje filmova poput 'dude, where's my brain' itsl, koji su u stanju da simpatajzuju sa kretenskim likovima... da se radi o povratku kvalitetnog hard R-a PER SE, on bi se desio još sa HAUTE TENSION, koji je uprkos solidnom marketingu PUKAO na USA blagajnama.
ipak, raduje me što je HOSTEL ovako krenuo, zbog DRUGIH filmova koji će doći za njim, pa tako i zbog novih BRDA...
+ godi mi ovaj komentar:
"The track record of horror films tells you maybe Hollywood should just release horror movies to be successful. I can't think of a more consistently performing genre at the box office," said Paul Dergarabedian, president of box-office tracker Exhibitor Relations.
iz tvojih usta u azatotove uši, vertebrijane!
a hoce li, i kad, Hostel doci u balkanske bioskope?
btw, zaboravila sam soundtrack da pomenem ::---> A+++!!!
ima jedna stvar koja mi se extra dopala, ne mogu da je nadjem :(
http://www.fangoria.com/ghastly_review.php
Quote from: "Black Mamba"a hoce li, i kad, Hostel doci u balkanske bioskope?
Hoće. Premijera u Bgdu je zakazana za šesti april dve hiljade i šeste. Znači: za tri meseca.
bas me raduje ova lepa vest u novoj godini :D ,pitam se kako ce da reaguje Piter Jackson za "Hostel" koji je na listi iznad "King Konga"
Odlicno :roll: sad tacno znamo kompletnu radnju i kako ce se film zavrsiti. Ovaj komentar je preterano detaljan.
Mada, nije me briga, ionako necu gledati HOstel. Drazi su mi malo suptilniji horori.
Joj, ovaj hostel obećava :!:
Hostel can't be a commentary on sexual tourism because it is sexual tourism; it can't be a commentary on exploitation of women and virulent gay-bashing because it's those things, too; and, ultimately, it's neither as scary nor as funny as it wants to be, because it's just a cheap bit of garbage and everyone, even or especially the people who'll like it best, knows it.
This is my kinda movie!
well, nemoj da se radujes previse jer taj sexual tourism i nije bas neki sexual tourism, bar ne sto se tice sexual scenes -- neki stidljivi sex, sise, sise i sise, i to je to.. ko bese najvise voli sise u filmovima ovde, Koma? :lol: e on ce najvise uzivati u ovom filmu
Evo, sad se i ja bas vratih iz bioskopa...svi pricaju o Hostelu, cuo sam da je pretekao cak i Konga i Narniju na Box Office-u, pa da vidim o cemu se radi.
Iskreno, film je jedan od boljih horor filmova u zadnjih 10-15 godina. Nisam jos stigao da vidim SAW I/II, ali verujem da su u slicnom stilu. Ako ne ceo, barem onih zadnjih pola sata ovog filma. Prvih sat vremena protice kao bilo koji americki teen-filmic, tipa "American Pie". Tri tipa traze drogu i sex po ulicama Amsterdama, dok ih jedan momak ne uputi na pravu lokaciju - predgradja Bratislave, koja izgledaju gore nego Vukovar. U filmu to objasnjavaju ratom, kao svi muskarci izginuli, pa se zene bacaju na svakog muskarca sto vide. Oni muskarci sto su "preziveli"- se mogu lako prepoznati po celavim glavama i neizbeznim koznim jaknama. Slika i prilika svakog istocnog Evropljanina;)
Zadnjih pola sata ne vredi prepricavati...videcete vec sami:)
Sve u svemu, dobar film koji treba videti. Snimljen je u prelepom Pragu....a Cehinje :shock: :evil: :o
film mora da valja :arrow:
jer su ga mormoni zabranili u jutahu :wink:
daklem kakav rat u slovačkoj? :shock:
HOstel se pojavio kod pirata. Ne verujem da cu ga gledati, ali cisto da znate.
uvodnu rec bih zacinio jednom britanskom tabloidskom informacijom,
Quentin Tarantino, in the Blue Lagoon spa in Iceland
this month with Kill Bill collaborator Eli Roth was,
we're told, "very sweet and surprisingly friendly".
HOSTEL je pola filma besraman rip-off daleko superiornijeg ostvarenja EUROTRIP, famoznog nastavka ROAD TRIPa. s tim sto ga nije unapredio vec je kudikamo cak i nazadovao.
zanimljivo je konstituisanje Slovacke kao ultimativnog backpackerskog pakla na zemlji. to je verovatno zato sto je Slovacka najdalje mesto na istoku do koga backpackeri uopste dodju. s druge strane kazu mi da zaista izgleda hororisticno dan-danas, i cini se da EURO TRIPovci i/ili Eli Roth nose snazne utiske odatle, premda to ne opravdava Eli Rotha sto je u jedno cetiri scene besramno ripovao EUROTRIP.
film traje 95 minuta i sadrzi jednu od osnovnih karakteristika Rothovog prvenca, interplay izmedju likova je daleko zanimljiviji od horor aspekta.
junaci tek u 20. minutu stignu u nareceni hostel.
oko 26. krece seks. zenske su jako zgodne ali seks nije nista narocito.
u 30. imamo nagovestaj misterije, to jest zacetak trilerskog elementa u hororu.
nekih 40. minuta se ceka da pocne ono sa plakata, kao neki horor. e onda kad pocne, onda opet stane da bi gledalac znao vise od junaka iako vec tada dobranih 50ak minuta, gledalac zna vise od junaka. clumsy dramaturgija at best.
oko 70. minuta stvar pocinje da se granici sa akcionim filmom, to jest nekom vrstom escape trilera. samo bez definisanih pravila koja povezuju tacke zapleta. junak se proizvoljno krece u svom pokusaju da pobegne. ne mogu reci da u vcini navrata cini stvari koje ne bi i mi ucinili, necu da gresim dudu ali nije bas ubedljivo da je to jedino sto u tom trenutku treba da uradi.
medjutim, kada tokom bekstva ucini Big Dumb Move onda je to beskrajno Dumb.
recju, Eli, druze, nije suspense ako teras gledaoce da dokono cekaju film vec kad ih aktiviras u iscekivanju najgoreg. to je ta nijansa koja te razdvaja od dobrog reditelja.
ono cime Eli najbolje raspolaze u sferma set-pieceova, rezije i montaze su svakako lazni rakordi, dakle uspostavljanje montaznog odnosa tip junaci se gledaju, krenu jedan prema drugom, suspense dok ih ceka susret a onda se ispostavi da su u razlicitim ulicama i sl. taj stos mu uspeva u par navrata. to ipak nije dovoljno za ozbiljnog zanrovskog reditelja.
kad je o hororu rec, nisam osetio neki preveliki bol i bio narocito sokiran. jos vise me je razocaralo sto kada krene vengeance, u igri se nadje pistolj a ne hirurski alati koji su dotle korisceni. samo mucenje je bez nekih set-pieceova, prilicno je stidljivo zabelezeno i u sustini sterilno u svom pokusaju da bude ekstremno.
politicnost je negde onako fer, ima malo didaktike ali na kraju krajeva, sto da ne? barm je dobar stos da je sirotinja zaista zla. to cenim.
HOSTEL je sjajan pitch. srpski scenaristi treba da se svako jutro pljunu u ogledalo sto ga nisu smislili.
medjutim, film je uradjen negde na Zekinom nivou.
sto kaze baba Tennatka,
Disappointed once more
Government officials in Slovakia have expressed their concern that new backpacker horror movie Hostel makes their country appear dangerous. The Eli Roth-directed movie, which shows three travelers heading to a Slovakian city and falling prey to a brutal torture ring, has caused outrage among the country's politicians, who feel it will tarnish their nation's reputation. Member of Parliament Tomas Galbavy says, "I am offended by this film. I think that all Slovaks should feel offended." Galbavy called Hostel, which was shot in the neighboring Czech Republic, "a monstrosity that does not at all reflect reality" and added it would "damage the good reputation of Slovakia." Slovak culture minister Linda Heldichova adds, "We are unanimous in saying that this film damages the image of our country." But director Roth insists his aim in making the film was not to offend Slovakians but to highlight the ignorance of US cinema-goers. He says, "Americans do not even know that this country exists. My film is not a geographical work but aims to show Americans' ignorance of the world around them."
vidim da je"hostel"plakat pojavio u takvudu bas se radujem :!:
videcu da maznem plakat 8)
Quote from: "Black Mamba"
- jedan Kill Bill ima bar 10 puta vise krvi nego Hostel
upoređivati krv iz Kill Bill i krv iz Hostela je potpuno promašeno. Kill Bill nosi pre svega jedan sarkastično-trash prizvuk uz jednu veoma tananu i jedva vidljivu priču o ogromnoj ljubavi. krv u Hostelu je krv per se, koliko god se zagledala i zamišljala nema ništa iza. ništa.
Quotesve malo netipicno za Tarantina...
A sta je to "tipicno" za Tarantina? :o
milsim da se znamo pod drugim nikom/s nekog drugog foruma, zvucis mi poznato... dakle pitanje je prvo oces da se svadjas ili diskutujes.. ako je ovo prvo, onda aj zdravo.... a za ovo drugo sam uvek za, s tim sto nemam uvek i vremena... a ni zivaca za takve likove i stavove.....
Quote from: "Black Mamba"milsim da se znamo pod drugim nikom/s nekog drugog foruma, zvucis mi poznato... dakle pitanje je prvo oces da se svadjas ili diskutujes.. ako je ovo prvo, onda aj zdravo.... a za ovo drugo sam uvek za, s tim sto nemam uvek i vremena... a ni zivaca za takve likove i stavove.....
Zaista se ne prepoznajem u onome sto pricas, nisam imala lose namere, postavila sam ti pitanje, a ti nemoj odmah da hejtujes. Ne znam sta bih ti rekla. Pitanje bi bilo: sta je za tebe "tipicno" u Tarantinovom radu, sto ne mozes da vidis, osetis u Hostelu? Diskusija, simply as that. :idea:
a kakav sam ja to lik? i kakav je to "takav stav"? Obrazlozila sam da je za mene "krv" u Kill Bill-u "drugacija" u odnosu na "Hostel" i to vrlo precizno. Iznela sam svoj stav, i ne vidim gde se nalazis pogodjenom. Vidim da ti hoces da se svadjas, i viceversa nemam ni ja zivaca za "takve" likove.
Anyway, moze li neko da mi odgovori na ovo pitanje, jer se bavim nekim istrazivackim radom na konto QT-a.
QuoteObrazlozila sam da je za mene "krv" u Kill Bill-u "drugacija" u odnosu na "Hostel" i to vrlo precizno.
Tačno. Krv u Kill Bill liči na mlijeko.
Kill Bill (aka Kita u Bila) je nevina zrtva Tarantinovog ega i distributerske pohlepe.
vise bih voleo da vidim Tarantinovo ime zalepljeno za jos neki film tipa Hostel, nego da se mucim gledajuci jos neka njegova rediteljska proseravanja...
bolje da se ubuduce bavi samo produkcijom, ali na nacin da samo posudi svoje ime nekima koji zele takvu vrstu reklame...
samo da ne ispadne jos neka Modesti Blejz...
wow.
Hostel je odličan film.
Opet ozivljavas mrtve topike.......bice i treci Hostel ! :!: I zasto rasprava o drugom nije bila ovde? :idea: Verovatno zato sto je ovo postao topik o Tarantinu i Kill Bill. :evil:
http://outlawvern.com/2011/11/30/early-review-hostel-part-iii-plus-revisiting-hostels-1-2/ (http://outlawvern.com/2011/11/30/early-review-hostel-part-iii-plus-revisiting-hostels-1-2/)
predugačko
prepričaj
fala penisu da ti nešto potpišeš
i mali savjet od religioznog stručnjaka
ne brkaj katoličke cenzore s anglikanskim metodističkim ili generalno protestantskim
primijetio sam da vi pravoslavni ateisti uopće ne poznajete strukture zapadne crkve vama su svi katolici usprkos 80.000 protestantskih crkava
Hostel Part III 2011 DVDRiP XviD AC3-SiC
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi.lulzimg.com%2F80ac4f062c.jpg&hash=c19a02c46737e2a3ebdca3f5524a40150e015c9d)
http://www.imdb.com/title/tt1255916/ (http://www.imdb.com/title/tt1255916/)
čekamo izvješće xcheers
heh, straight to DVD release.