A strange, confused film that falls into tired Orientalist tropes the horror genre should've long grown out of by 2020.
With a list for the disturbed, one for zombies/living dead/infected, a 31-day map of horror and even a list for Halloween-ers who aren’t horror fans, I’ve come to one with a special disturbing dedication: blood and gore and uncomfortable pains!
While the other disturbing list is a bunch of general unsettling movies, this one is based mainly around effects and the visual nastiness. Now, these aren’t meant to be the BLOODIEST, or the wildest gore imaginable, nothing like that. The movies on this list are some of the ones with the effects I enjoy most, the nastiest depictions of violence, and so on, which I’ve found throughout the 4,100 films I’ve seen in the past 30 years.
Hopefully you hardcore horror fans will enjoy some of these and you’ve probably seen a few, if not all. Either way, let me know what you think and if there are any others you enjoy that ought to be shared.
Anthropophagus (1980)/ Absurd (1981)
A perfect double feature if you want a big helping of senseless violence, relentless terror and creepy atmosphere. These two landed on the Video Nasty list during 1983; they were also prosecuted successfully.
Joe D’Amato’s Anthropophagus sees a group of friends on a Greek island terrorized by a tall cannibalistic man of mysterious origin. No more explanation needed because there’s honestly nothing much else to say. It’s the way D’Amato shows everything, his style, which really makes this something to see. Truly nasty bit of work. Goes well together with a want for blood, guts, and flesh wounds of all shapes and sizes.
Moving on to 1981, D’Amato comes back with a spiritual sequel to his earlier Anthropophagus from 1980 – Absurd is the story of a priest chasing down a monster whose blood coagulates incredibly fast, rendering it near impossible to kill, and its killing is unstoppable.
This isn’t near as good as Anthropophagus, still it is some more savagery from D’Amato whose nastiness knows no bounds at times.
A ton of head action here: no, not a blowjob, I’m talking heads being drilled, heads being sawed, et cetera. If you’re in need of a bit of rough violence, this is certainly the ticket. However, as I said, D’Amato doesn’t come back near as good with this film as he did with the previous.
These two films make an interesting, nasty double feature. Don’t say I didn’t warn you – not plot heavy, but definitely thick with murder!
Blood Feast (1963)/ Two Thousand Maniacs! (1964)
The second double feature (out of 4) on this list, it’s another one with both titles from the same director. This time, it’s the Godfather of Gore, Mr. Herschell Gordon Lewis.
The entree: 1963’s Blood Feast.
While this is by no means a great film, it’s definitely ambitious in terms of the blood and gore. With Blood Feast – the story of a killer slaying women in order to get blood to appease an Egyptian goddess – Lewis began introducing the world to his vibrant brand of gore horror. Right from the very beginning of the film, its first sequence comes off totally awesome and bizarre; a proper portion of H.G. Lewis signature style gory makeup effects. So pretty much immediately you’ll know whether or not you’re in for his type of filmmaking. I dig it and think it’s nasty as hell. This is one ridiculously fun and equally rotten bit of gore horror.
After Lewis shocked with the previous little blood & guts flick, he came back swinging with a much better film the next year: Two Thousand Maniacs!
This one is the story six people who find themselves trapped in a town, deep down amongst the Southern U.S. and one by one they’re killed, as part of a celebration/their revenge for the town being destroyed in the Civil War.
Talk about bloody! The poster does not lie. Early on in the days of splatter horror movies, H.G. was rocking it hard. Furthermore, there’s a real dreamy quality to Lewis’ filmmaking and I feel that’s a part of appreciating what he does; sure, it’s kind of cheap, yes it is also tame compared to things today. But is it really tame? I don’t think so. Either way, there’s a certain atmosphere Lewis creates which not a lot of people take into account. Sort of an avant-garde-trash mixture. Bless him. This is a wonderfully fun and bloody piece of work.
These two Hershell Gordon Lewis movies work so well together, though, the second is much better. This gives me my fill of organs and bleeding cuts and slashed throats and more. A perfect Halloween splatterfest!
My full review is here.
One of my three favourite Davids – another one comes later (and the third is my dad) – Lynch dropped his first feature film onto the midnight circuit in 1977 with the existentially horrifying and viscerally churning Eraserhead.
The story… ah, if you don’t already know what this movie is, there’s no real point trying to explain it. Maybe best put: the story of a man living in an unbearable industrial landscape, whose girlfriend gets pregnant and then they both must deal with it after coming out a tiny monster. Oh, and don’t forget the woman who lives in the radiator.
A whole mind trip of a film, this Lynch masterpiece has tons of the existential dread happening, from start to finish. But the visuals – holy fuck, the visuals! There are moments even some hardcore horror hounds find nauseating, simply because of the way Lynch shows us his imagery. I won’t ruin anything for those who’ve not seen it. Needless to say, you may never look at a turkey or chicken again in the same way once you’re ready to carve it up.
Fun note: Lynch still says to this day no one has ever really pinpointed what the film is about, for him.
Dans Ma Peau a.k.a In My Skin (2002)
This French film is the story of a woman who experiences a bad injury while at a party, then becomes increasingly obsessed with self harm – serious cutting.
A lot of people might find themselves flinching throughout large portions of this one. Honestly, it’s a tough piece of cinema. The amount of nasty cutting and self-violence here is extraordinary. Perhaps what makes the blood and makeup effects here so devastatingly effective is the fact we get inside the headspace of the main character – also the director and writer, talented woman – and come to actually care about her, maybe some of us will identify with her. So this takes it to another level. Go into this expecting you may turn it off due to discomfort.
Hostel (2005)/ Hostel: Part II (2007)
For my full review of 2005’s Hostel – click here
For my full review of the sequel – click here
Another double bill, again each from the same director. This one would actually make a great quartet feature with H.G. Lewis, come to think of it.
Say what you want about Eli Roth, he’s effective. Can you honestly say the special makeup effects in Hostel aren’t well executed? If so, you’re kidding yourself. You might not like how Roth plays out his film, you may not even like the content. There’s just simply no fucking way you’re convincing me the blood and gore here isn’t properly nasty.
Hostel came out and turned up the label “torture porn” (get what it implies but hate the term). The whole thing, to me, is a sleazy masterpiece of bloody horror. Its first half plays like a roadtrip comedy with the three dudes, cut with bits and pieces of murder. Once the second half begins, Roth takes us on a gory ride. That eyeball effect? Come on… don’t let whatever your opinion of Roth/the movie overall may be cloud your judgement: this is some hardcore brutality. There are plenty more bits to “enjoy” when it comes to all the bloody goodness, the eyeball is my favourite.
I wasn’t expecting a good follow-up, honestly. Regardless of that, though, Hostel: Part II is one hell of a sequel from Roth. Of course the end turns out to be a nice little feminist twist, but most of the film sees a trio of women in peril, as opposed to the three dudes from the first. The savagery is just as prevalent here. Love the homage to Erzebet Bathory with the bloodletting bath scene. Also, I’m always a big fan of piece of shit men getting their dicks cut off. So there’s that.
Both of these films are incredibly horrific, in their own ways while still being similar. Even better than that, I find the sequel Roth came up with did well with creating an entire universe with the story, going deeper into the global club of psychopaths who round up victims for murder tourists to have a go at. On top of all the bleeding and the screams and the terror, there’s also a cherry of a decent plot, too.
Island of Death (1976)
Back to another of the infamous Video Nasties. And I’m not putting this on the list all due to it being on there, either. Only awhile ago did I actually get the chance to see this, but christ… what a doozy.
In 1976, director Nico Mastorakis put out Island of Death after seeing how well Tobe Hooper did with his indie shocker The Texas Chain Saw Massacre only two years before. Except without much of an intent, as I feel Hooper had with his own film, Mastorakis only wanted to bring the awe with a sadistic and perverse plot based around a British couple – who say they’re recently married yet are actually later revealed to be a brother-sister incest duo – wreaking absolute havoc on people while visiting a Greek island. Strangely enough, for two inbreeding siblings, they kill people who they deem sinful.
You’ll find yourself, most certainly, struggling to get through this because it’s not particularly good, in regards to plot or story. Neither is it overly well-acted. It’s the brutish violence and boundless depravity which will take you in. The blood flows and the gory scenes will make you understand easily how this ended up on the Video Nasty list.
Masters of Horror: “Imprint” (dir. Takashi Miike) (2006)
My vote for most disturbing segment ever made for television – Takashi Miike’s Imprint from the horror anthology series Masters of Horror.
Miike has turned up on another list I did for Halloween this year (for his 1999 horror-thriller Audition). He comes back here again with a vengeance.
Without giving away too much, an American traveler who once visited Japan for a time goes back for another trip. When he looks to find the geisha with which he connected so emotionally on his first visit, she is nowhere to be found, and he soon begins to unravel the devastating mystery surrounding her disappearance.
Think it sounds okay? One of the most disturbing movies I’ve ever seen, and it was a television episode; though, it wasn’t allowed to air if I’m not mistaken. I bought the two seasons of this show and found myself blown away by this one in particular. Lots of nastiness from one of the true masters, Takashi Miike.
For my full review, click here.
A personal favourite of mine, David Cronenberg’s Videodrome is similar, in a few respects, to what he was doing in eXistenZ later down the road. However, they’re definitely different, vastly so, as this 1983 classic goes much harder and more metaphorically at the body horror sub-genre.
Sleazy TV producer Max Renn (James Woods) searches for the ultimate in raw, real content for his channel. In his search, Max comes across an ultra-real show named “Videodrome”, featuring what seems to be actual snuff and torture, et cetera. Slowly drawn in, his quasi-girlfriend Nick Brand (Deborah Harry) goes to audition for the show, having an interest in masochism particularly. What happens next takes Max to the brink of reality and sanity at once.
Cronenberg is one of the genius filmmakers of cinema, even better that he’s Canadian (as I am one; he’s a national treasure). He’s very much an auteur, I would say he’s pretty much the king of body horror. Even further than that, I’d definitely say Cronenberg is at least ONE of the godfathers of the sub-genre. Lately he’s moved a little bit away, which is fine. You just cannot deny his power. Some of the effects here, provided by maestro artist Rick Baker, are simply unforgettable – the fleshy VHS tape, the mutilated/deformed bodies, and so on. Plus, on top of all the body horror, as is his style, Cronenberg also gets into how we relate to media, whether movies or television, what have you. Very interesting movie and also harrowing in terms of its body horror imagery.
Haute Tension (a.k.a High Tension a.k.a Switchblade Romance) (2003)
For my full review, click here.
Alexandre Aja is a favourite of mine, in terms of modern horror filmmakers who have emerged over the past 15 years. He’s vicious, funny, he’s displayed – in some of his films – that practical special makeup effects still have a place in post-2000 horror, it isn’t all about CGI. Most of all, I think he wears the biggest and best of his influences on his sleeve.
The story of Marie and Alexia, two college friends – they head for a vacation back to Alexia’s parents home in the country, deep in the cornfields. On their first night, a killer comes knocking at the door. Systematically he murders the family, except for Alexia – all the while, Marie is hiding upstairs in a room at the top of the house. Marie manages to slip into the killer’s creepy truck before he whisks Alexia off. This begins an intensely vicious night of cat-and-mouse maneuvering, swimming in blood.
I never once saw where this horror movie was going the first time I saw it. Then when you watch it over and over again, which I’ve done (because I fucking love it), it’s interesting to watch knowing where it will go and still find yourself enthralled. There are some of the most perfect special makeup effects in High Tension. It has such a great 1970s/1980s horror sensibility, one of the biggest reasons why I can’t get enough of this Aja masterpiece. Some will tell you the twist is something you’ll see coming. I don’t believe that; people who say those things, some of them anyways, are usually just naysayers unable to point out anything particularly bad about a movie they don’t like (for whatever reason). You’ll be blown away, or in love depending on how sick you are like myself, by all the blood and gore from start to finish. Plus, the performances are incredible, even the near mute killer. This one is a definite shocker you need on the Halloween movie marathon list. If you don’t dig subtitles, get over it or miss out on a fantastic piece of modern horror-gore cinema.
Macabre (1980)/ Demons (1985)
Moving on to our next – and fittingly final – double bill: back to back Lamberto Bava madness!
To start, the 1980 horror (amazingly it is loosely based on a true story) Macabre. This one is insanely fun in the sickest horror sense. A woman is reeling from the death of her extramarital lover; they were in a car accident and he was decapitated. After a 12-month stay in an institution, she gets out and heads back to the apartment where she and her lover would meet to make love and be together. Soon, her landlord begins to suspect there’s still something going on between the woman and her lover.
So that description alone should intrigue you + the poster art there! To tell you the truth, the poster itself I’ve got there is a bit telling. But still, not like my description wasn’t either. If you want some nasty horror dealing with dead bodies and psychosexual tension, this will make any Halloween properly disturbing with a nice spate of – you guessed it – macabre imagery.After Macabre‘s more subtle story, believe it or not, is the 1985 cult classic Demons. For those who don’t know, Lamberto Bava is the son of revered Italian horror/giallo director Mario Bava (see: A Bay of Blood & more). So while his father was an absolute powerhouse overall in cinema, not someone I would banish to simply being a great genre director but a true artist, Lamberto doesn’t quite rise to that height. That being said, he is still an amazing horror director. Demons is an all-out barn burner: a bunch of people are trapped in a theatre, home to demonic entities, and they proceed to kill/possess everyone possible inside. Honestly, there’s nothing else to say about the plot – it is what it is, and that’s all right. This is one wild piece of horror, similar to a zombie film yet these are demons; the more they possess people, the greater their numbers. Not only that, the special makeup effects in this one are gnarly and awesome as hell. You have to put this one on if you’re watching Lamberto Bava, it’s a wild ride, and a nice contrast piece to Macabre, a very different sort of horror. These two movies together will really get your blood flowing. Turn Halloween into a night of terror with this double feature full of depravity and utter chaos.
It’s strange because so many people seem to have seen Lucky McKee’s The Woman from 2011, yet inexplicably ignore its predecessor – the 2009 indie Offspring.
Based on a novel by Jack Ketchum, and subsequently his screenplay for the film, this is a tale of the remaining cannibals from an old clan who move in on a nearby town and begin to wreak havoc on its people.
There are some intense bits here, especially with the inclusion of the feral children in the clan; one scene immediately comes to mind when a woman walks into her kitchen, only to find blood and body parts and kids nibbling on the tasty little bits they’re holding. This is one really macabre story and its execution I find pretty damn good; not perfect, but good enough. Not sure why this one has a super low rating on IMDB, perhaps some might find it cliched or overdone, I don’t know really. The mind of Jack Ketchum comes out pretty nicely, to my mind. He is a unique and terrifying writer.
Either way, I do know this has enough satisfyingly disturbing bits of gore and morbidity in it you might spend a few minutes before bedtime making sure no cannibals are hiding out in the kitchen.
For a full review and examination of this shocker, click here.
Loosely based on the real murderer Werner Kniesek, Angst is the tale of a madman released from prison, after which he brutalizes and murders a family in their small home.
Truly, to me, this 1983 cult horror film out of Austria is actually an examination of institutionalization crossed with an already violent psychopath, almost the meeting of two immovable forces crashing against one another. Right from the first scene, we know how madly gone the psychotic (Erwin Leder; best known from Das Boot) has become in his time through the prison system.
And that’s part of why Angst is so powerfully disturbing – aside from the messy, bloody bits, the entirety of the film has us knocking around in the head of this man. We’re never given any of what’s going on outside of him, anything from a different perspective, but rather this depraved killer is our guide, our sherpa into the heart of utter darkness.
If your Halloween season hasn’t been viscerally disturbing enough, get ahold of Angst. It’s becoming better known over the past few years, particularly with the Blu ray release, however, it’s still not widely recognized enough in my opinion. There are easily drawn comparisons between John McNaughton’s Henry: Portrait of a Serial Killer. Though, trust me: this movie is far different, it gets deeper into the brain matter of its killer and really tries to strip things down to push us into the main character’s uncomfortable headspace.
Salò, or the 120 Days of Sodom (1975)
This 1975 Pier Paolo Pasolini-directed shockfest is one you’ll undoubtedly see turn up on most of the disturbing horror lists out there. Anybody in their right mind will find this completely raw and hateful nasty, no doubt about that. The most hardcore horror fans readily admit this is one insane piece of cinema.
While I do think there’s a major part of this movie speaking to fascism, et cetera, the majority of what you’ll find incessantly horrifying here is the imagery. And it’s not subtle, not even for a hot second.
Think – have you ever thought to yourself “I’d love to see a movie where people commit sodomy, eat human faeces, then throw in some violent torture/murder and a suicide to boot”? If so, this one is for you!
Okay, I don’t make this one sound in the slightest appealing. Because it’s not and I’m not trying to fool you here. This is a list of disturbing horror to do solely with imagery, effects, and so on. You won’t find a more visceral piece of cinema ever, maybe. Many argue this has no purpose, but under all its nasty and in-your-face nausea, Pasolini had something to say with Salò and after all these years – four decades later – people are still debating it, still fighting it, the controversy surrounding the film and Pasolini himself continues to burn in the public heart of film lovers. So can you say, either way, love it or hate it, that Pasolini’s movie is not effective? You’re kidding yourself if the answer is no.
Putting this one on could ruin October for you; the entire month. But if you’re adventurous, and a little messed up, pop this in and rock out to the Pasolini mindfuck machine.
Thanks for reading another of my Halloween lists this year. Once more, as always, I’m hoping you’ll find at least one flick to put on during October. Especially the closer it gets to the 31st. This list will induce shock and awe, I know it does for me. These are all pretty wild movies, to me. If you have any other suggestions for blood, guts, skulls and assorted nasty stuff, please drop a comment and let me know in what sort of madness you’ll be indulging over the next couple weeks.
Hostel. 2005. Directed & Written by Eli Roth.
Starring Jay Hernandez, Derek Richardson, Eythor Gudjonsson, Barbara Nedeljakova, Jan Vlasák, Jana Kaderabkova, Jennifer Lim, Keiko Seiko, Lubomír Bukový, Jana Havlickova, Rick Hoffman, Petr Janis, Takashi Miike, Patrik Zigo, and Milda Jedi Havlas. Raw Never/International Production Company/Next Entertainment/Hostel LLC.
Rated R. 94 minutes.
I’ll not back down from the rating and love I give Eli Roth’s Hostel. He’s honestly one of those younger horror directors that’s pushing the envelope for genre filmmaking. Continually to this day, Roth is pumping out the good stuff. Not everything is perfect, however, he’s one of the few directors that truly goes for shock and awe. But not simply that, regardless of how people feel about this movie, or any of his movies, there’s always a care for building character, developing tension, and on top of all the gory horror he offers I can always manage to find myself involved in the characters and situations happening in his movies.
Not the first gore film ever made, not by a LONG SHOT – that being said, something about Hostel struck critics and viewers enough in the
rightwrong spot it ended up coining the label torture porn; something which I hate, I find it stupid, and though I know what it’s meant to insinuate I don’t particularly find it at all a useful label. The only reason people initially came up with that label, I believe, is because Roth’s movie has this beginning segment where the characters have sex, they party, girls are half naked and fully naked, and so on. Then, once the fun is over, all the nasty horror begins. THAT, my friends, is why we have torture porn. Really, I think the label means to say the torture aspects of these films (Saw is another film/series labelled this way – better deserving of the title than this film) are, in a sense, fetishized. I just can’t see it in this movie.
Reason being, this is – plain and simple – a gore film. Eli Roth came up with an interesting premise, something which has set off a number of other horror movies basing themselves on the TERROR OF TRAVEL TO UNKNOWN PLACES FAR AWAY FROM HOME, and on top of his initial idea he piled on the horror, mostly in bloody, gory form.
But it’s exactly what I’ve just said which makes Hostel more than a bunch of gore and torture scenes. The fact it was successful enough it created a new label (for a sub-genre of films which already existed long before), a ton more films (such as Turistas and The Chernobyl Diaries) based on horror while vacationing, and launched the career of Eli Roth to new heights, all goes to show the influence and importance of Hostel.
Because like it or not, this one changed the game.
Hostel tells the story of Paxton (Jay Hernandez), Josh (Derek Richardson), and Oli (Eythor Gudjonsson) who are on vacation together; the first two being old friends, the latter being a new friend they met while travelling. Heading to a hostel in Amsterdam where they’re staying, very late one night past curfew, the friends are attacked in the streets by people throwing bottles from their windows. A young man named Alex (Lubomír Bukový) opens his door and saves them from the flying bottles. While there, Alex reveals a hostel where they ought to stay, a Slovak village – it supposedly has many horny, willing women who particularly love Americans.
After arriving at the hostel, and a strange encounter on a train with a Dutch businessman (Jan Vlasák), the guys meet some beautiful women, they party.
However, one by one the friends disappear into thin air, until finally only Paxton remains. When he’s able to convince one of the girls they met to bring him where she claims Josh and Oli are, Paxton finds out there are things better left unknown in the sleepy little Slovak town.
I think Roth’s screenplay here deserves more credit than people give it. They toss several scenes off early on as if they’re nothing except a way for Roth to whittle away the time. But if you pay close attention, or not even, if you just WATCH the damn movie you’ll see he actually bothers to set up a bit of character development.
For instance, I think when Paxton (Hernandez) tells Josh (Richardson) about the experience when he was young, seeing a girl drown, it’s a wonderful scene on its own. Then later, it comes into play as Paxton refuses to walk out of the factor and leave the Asian girl behind to die (even though we all know what happens later). Everything comes to bear here in this script and I feel like people don’t pay this enough mind. It’s not as if the screenplay is revolutionary, I’m just trying to instil the idea that Roth isn’t simply rolling through torture scenes and not worrying about dialogue, character, and overall plot. There are still great moments like these.
That SUPERBLY CREEPY scene when the Dutch businessman (Jan Vlasák) first shows up on the train and he eats the salad with his fingers is, to me, a scene that will be viewed as classic horror from the 2000s. When you look at that scene, first glance it comes off as a quick and unsettling moment. Then, as the Dutchman shows up again and again, his connection to Josh grows a little, that scene with the salad becomes something much more telling than a ploy towards awkwardness and a way to make us feel uneasy. It becomes more and finds further weight as the movie wears on.
So now I’m mostly going to talk about the makeup effects, as well as certain scenes I thought were amazing.
To start, I love when the Asian girl is about to have her toe chopped, then Roth quick edits to her friend cutting her toenails. MAN – such a tense moment. Because for all he ends up showing later on, as well as the severed head not long before that, you’d almost assume he would go ahead and show us a nasty piece of blood and gore. Or a taste. Instead, he ramps up the tension with such a simple, easy cut from one shot to another. Simple yet so damn effective.
Also, in one of the next scenes Josh (Richardson) is in a bar and there’s this excellent song playing. While he watches Paxton (Jay) dancing out on the floor, there’s this fog splitting open all of a sudden where Oli (Eythor Gudjonsson) appears standing triumphant out of nowhere. It’s not even a horror moment, it’s simply an awesome bit. There’s something about that moment which strikes me, every damn time. Merely a passing dream image to the character, but for the audience it’s this weird and cool sort of shot out of the blue. Certainly couldn’t go without mentioning it.
One INCREDIBLE SCENE sees Takashi Miike as a tourist – or should I say a customer of Elite Hunting – and though Miike does not speak English, he took a role in Roth’s film, speaks one line, gives a VERY SINISTER GRIN behind those shades he always wears, and then gets into a car, driving off.
I think, ultimately, I can’t decide which is my favourite scene in terms of makeup effects and blood/gore. There are too many fun, nasty moments in Hostel for me to say for sure, personally. It’s a real hard go of it to come up with some definitive scene, in terms of any of those qualities.
What I can say for sure is that the final half hour is UNREAL! There’s nothing but savagery, a dose of black humour, bloody and gory special makeup effects, as well as a ton of creepy and effective acting. Starting with the German Surgeon (Petr Janis) toying with Paxton, who is handcuffed to a chair, there’s just an absolutely gritty, disturbing tone. This shifts everything into gear, as Paxton eventually gets himself out of the room.
But it’s downright horrifically perfect how Roth executes the finale of this film. There’s so much going on and we get all these excellent makeup effects, one after the other. Naturally, Kings of the Horror Industry Howard Berger and Greg Nicotero, as well as the other artists over at their K.N.B EFX Group, had their hands in all the nastiness involved here. Their special effects, the makeup, their casting and moulding, it’s GENIUS! Every time. I’ve never seen bad stuff from them, honestly; they’ve done work on bad films, but their work is almost always perfect. It’s one of the highlights for sure out of this one.
IF I HAVE TO CHOOSE ONE: the eyeball effect, all around, it is a killer bit of work. I mean, if you’re not disgusted and totally thrilled by that, I don’t know where your pulse is at.
I’m not changing my opinion, not matter what anyone says, because I don’t think Eli Roth’s Hostel is just a trashy gore horror picture. It isn’t, at all. While a lot of fans might love it merely for that, and rightfully so there’s a TON of wild gory stuff, there is plenty more to enjoy about this movie. It’s a 4.5 out of 5 star horror, I have no doubt in that.
With all the effects to boot, Roth comes out with a nice screenplay that gives up a decent bit of character development, sets a dark mood from tension to humour to gritty atmosphere, and the actors all do their best in order to make Hostel an entirely effective experience. If you don’t think so, too bad, because for me this is one solid piece of work in the post-2000 world of remakes, reboots, rehashes, and re-blahblahblahs. Roth did something daring, which paid off. His brand of horror is his own, though, he’s definitely inspired other indie horror filmmakers to do their BEST by doing their WORST to the human psyche via terror.
See this if you’ve not, and if you have: watch it again. Maybe if you focus on something other than the gore and the blood and the nasty bits, there’ll be something else to catch your eye. Or maybe not.