Tagged Lionsgate

Hostel: Part II – A Deservedly Misandrist Romp

Hostel: Part II. 2007. Directed & Written by Eli Roth.
Starring Lauren German, Roger Bart, Heather Matarazzo, Bijou Phillips, Richard Burgi, Vera Jordanova, Jay Hernandez, Jordan Ladd, Milan Knazko, Edwige Fenech, Stanislav Ianevski, & Patrik Zigo. Lionsgate/Screen Gems/Next Entertainment/Raw Nerve/International Production Company.
Rated 18A. 94 minutes.
Horror

★★★★
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I’m unabashedly one of Eli Roth’s biggest fans. When Cabin Fever came out, I couldn’t enjoy it enough while all my friends bashed it. But then again, I was always the biggest horror fan of my close friends. Either way, his career was on my watchlist. Then once Hostel came out I considered it the first post-2000 gore horror that was actually worthwhile. And truthfully, not many gory movies since have been as effective; albeit there are definitely a few as good, possibly a bit better. Not many, though.
Roth is a unique guy. He has his own sense of humour. His predilection for Italian splatter films shows, as does his interest in the B-movie feel. However, those aren’t a detriment to his talent. He’s ripe with fun ideas and his ability to shock yet shock with substance is visible even through the thick coat of blood covering his films. Don’t just look at the Hostel movies (forget there’s another one past the first two) and think it’s all about the gore. It’s about the secret impulses below a thin veneer of humanity in society. Maybe at times things are campy. That’s just Roth’s sensibilities that come from, like myself, a lifetime of watching any and all films you can get your hands on. No matter what, Roth brings the visceral grip necessary to keep Hostel: Part II fresh in your memory a while – the reasons for which may vary from person to person, even gender to gender.
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I’ve always loved the score in both Hostel films. There are these creeping string pieces that spell ominous, slowly scaling behind scenes. Great stuff. Reminds me of some classic bits of horror cinema, which adds a nice air to this gore film (and though I say gore film I mean it in the best sort of sense here). The ominousness of Roth sits over everything, as the score makes things more tense and suspenseful at times. It almost lures us in like the poor traveling souls that get roped into being meat for the hunters.
The special effects virtuoso pairing of Howard Berger and Greg Nicotero, along with their wonderful team at KNB EFX Group, provide Roth with the appropriate nasty practical effects which make the original and its sequel into top notch horror. If you’re having gore, have it right. Berger and Nicotero have the right stuff, giving all those brutal bits a proper punch. The blood is plenty, and it looks great! You need a chopped off head or some even more disgusting effects? Greg and Howard are your men. And they’re unreal at their jobs.
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One thing I dig, in terms of killing and gore, is that Roth opts to include a woman engaging in the murder this time. The Erzsébet Báthory-style lady, whose predilections involve draining the blood of other women apparently. This shows that Roth is an equal opportunist, giving women just as much fun as the men. In sick, murderous terms. Furthermore, even just the fact this film is a bunch of women on a trip instead of men is pretty excellent. Roth isn’t afraid to try killing off a trio of women, as opposed to the horny young men from the first outing. Another part of this is that Bijou Philips plays a sort of horny character herself, though, this is offset by Jordan Ladd and Heather Matarazzo, as they play more subdued roles, women with heads on their shoulders; for the most part. It’s just nice to have a different group, instead of Roth merely switching the genders. He creates whole new, interesting characters out of these three women. And having one of them meet their demise at the hands of the Báthory substitute? Sweet horrific perfection. Another fun bit – the three women we follow are introduced in an art class, where a male model hangs dong; objectified enough? Perfect response to those who complained about women objectified in the first film. They were, in a sense. But they were more femme fatale than anything. Here it’s just a man being drawn, while also having his dick ogled by a bunch of women. Love it.
Also, Roth’s screenplay is almost better here than the first film. I dig how the original only barely touched on the secret society of human hunters. But the way it’s expanded upon here makes things so much more sinister. One of the greatest scenes out of Hostel: Part II is when all the big businessmen are bidding on victims – it not only shows us the vast, wide reach of the company, it puts us into the sick perspective of seeing many of these men in wholesome type situations, all the while flicking on their smartphones to find the perfect victim to suit their nasty needs. A well-written and executed sequence all around. Going further into the company, especially focused on the two men planning on engaging in a kill, is a real great way for Roth to move on in the sequel. If it were just another story of people going away and getting killed, which plenty of it still is, then things would be dull, and quick. Rather, Roth chooses to switch back and forth between the victims and the soon-to-be killers, providing a look at both sides of the operation.
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I love the look and feel of this film’s aesthetic over the first. Even though the original is a favourite of mine from the last 15 years in horror. Part II has an almost Gothic style. Particularly in the different chambers where people are being murdered. I love the sequence with Mrs. Bathory, as she’s listed in the credits. It is so god damn disturbing, and Roth films it in such low, flickering light that it takes on the feel of a dungeon. Later on, once we move further into the warehouse of kill rooms, it becomes even more Gothic in its darkness. Cinematographer Milan Chadima worked with Roth on Hostel, and again does good work here. The look of this sequel is slightly darker, it seems. More of a blue-ish hue over things casting many scenes in a dismal light, making each moment bleak. And does it ever get bleak. In fact, Chadima works with the girls from the beginning while they’re in the sun, enjoying a vacation. By the time he’s finished with them, the frame is almost always wrapped in shadow. Lots of  close-ups that capture some amazing looks, some pensive stares, as well as a few spectacular wide shots I cannot get over (ex. when they walk into the big murder factory with its rundown and Third World look; amazing shot). Overall, the cinematography is even better here than the first.
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WARNING: spoilers ahead in case you really care.
Eli’s writing may almost be at its best here. In my humble opinion. Because he takes on a whole bunch of things. Of course there’s female nudity again in this one, yet things have changed. Like I mentioned, a woman is part of the secret hunting society, and she kills brutally before bathing in blood. Then there’s the part I love most – one of the men, the one who showed the most bravado leading up to the event, ends up being a total fake. Or at least he ends up losing his courage, whatever. And better yet – the literal castration that happens is the ultimate thumb in the eye to any accusations of fragile masculinity on the part of Roth. He goes for broke on that one. And I love how Roth, likely unknowingly (because I’m being overly nerdy here), parallels – pardon my pun here – two balls. First is the eyeball of a woman burned up in Hostel, here it’s the dick and balls detached from a man. Just the fact that Ladd’s character turns the tables on the man torturing her is enough for me. She’s a bad ass.
The Ruggero Deodato cameo as an Italian cannibal is classic. Such a nice nod, and love how Deodato plays the character. The briefest sort of appearance, yet memorable. How he just smiles, cuts up some dinner then heads back over to his table.
A masterfully horrific 4-star affair. Roth is a modern horror man, whose influences show. Yet unlike Tarantino, whom I love but who borrows too liberally at times (mostly in the past), Roth translates his influences into his own passions. The fact Takashi Miike did a cameo in the first and Deodato does on here is testament to that; he literally throws his heroes in the mix. But the gore, the story, and the violence turned against men brutally for a change makes Hostel: Part II and underappreciated horror sequel in the post-2000 genre landscape. Roth is a modern master of horror, I continue to follow his work and will do so until he finishes his career; a long one, hopefully.

The Devil’s Rejects: Old School Horror a la Manson

The Devil’s Rejects.  2005.  Dir.  Rob Zombie.  Starring Bill Moseley, Sid Haig, Sheri Moon Zombie, William Forsythe, Ken Foree, Matthew McGrory, Leslie Easterbrook, Geoffrey Lewis, and Priscilla Barnes.  Rated R.  Maple Pictures.  107 mins.

★★★★ (Film)
★★★1/2 (Blu ray release)

I’ll start off by saying I really love this movie. Not only that, I think Rob Zombie is an excellent horror director. He has a whole style of his own, as if the 60s & 70s came back to life with more grit n’ grime than you could ever have imagined. Personally, I also think he gets better.

devils_rejects_ver2I love the film. It’s quirky and funny at times. Others it is terrifying. Naturally, Zombie throws in a few good measures of nostalgia such as references to Elvis, the Marx Brothers and specifically Groucho, Johnny Cash, and a few other bits here or there. The Devil’s Rejects picks up just after the events of Zombie’s first feature film House of 1,000 Corpses: we watch as the Firefly family is laid siege upon by Texas Sherriff John Wydell (whose brother met an untimely end along with Walton Goggins in the first film) and his State Troopers. However, Baby and Otis manage to slip out through the horrific Firefly house, and get themselves onto the road where they escape into thin air. Certainly, Captain Spaulding pops up quickly, and we find out that he is in fact the father of Baby, who is also the brother of Otis- a very interesting and terrible family connection. From there we basically get a slasher road movie with that 60s/70s sensibility. Add in a bit of Ken Foree and Michael Berryman, a climax involving guns and a convertible and Lynyrd Skynyrd, some intense violence, and you’ve got quite the intense experience all around.
04_devils_rejects_blu-rayI really love this sequel because it takes a more campy horror, House of 1,000 Corpses, and extends the characters into something much more serious, sinister, and creepy. One scene specifically, in the motel, really gets to me. Bill Moseley said it was a very awful experience for him. Zombie makes a few comments on the Blu-ray about how it was very hard to wash those days of filming off afterwards. Tough to stop filming and all of a sudden go back into a light mood. No doubt. But it goes to show how powerful film can be. This isn’t just a raw movie full of violence, it really examines some dark subject matter. I think Zombie did an excellent job taking his weird characters from the first film and transplanting them into something similar yet vastly different. Good job by a solid filmmaker who knows horror well.
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That being said I’m not really impressed with this Blu-ray release. I’ve also got The Devil’s Rejects on DVD; it came with a two-disc set, one disc containing a documentary on the making of the film called 30 Days In Hell, which I really enjoyed. It had a lot of great stuff on there. Of course there were also other little bits and pieces. This Blu-ray has none of that. It contains the audio commentary, thank the movie gods, and some deleted scenes. If it weren’t for Rob Zombie’s commentary in particular this release would get a lower score. Not because of the film itself, just because of the features. This is a big disappointment. Zombie’s commentary, of course, is gold. He always has some great stuff to say about the filming process. I really like his perspective on budgets; on the DVD set I have there is an interview with him where he talks about how there’s no sense in throwing more money at something when he could just do it practically and in a more interesting way. About 98% of the effects here are practical. One notable exception is the knife Baby (Sheri Moon Zombie) throws at one of her hostages, catching the woman in the chest; this is done digitally. Still, even that looks nice. It’s cool to hear Zombie talk a bit about these things. Only part saving this pitiful Blu-ray.
08_devils_rejects_blu-rayAs for the film, it looks spectacular. Zombie found the perfect look for The Devil’s Rejects. As I said before, it’s straight out of the 60s/70s here. A lot of classic looking shots here that remind me of road movies from that period. I had to give this release a 3.5 out of 5 stars. I wish I could give it more. Based solely on the film, I give it a HUGE rating. However, this is a review of the Blu-ray itself, including its “special features”. I put quotations around those words because there’s nothing much special here. If it wasn’t for the quality, I’d probably just opt to throw in my DVD set instead, and get more bang for my buck. Although I only paid $8 for this Blu-ray at HMV, I still think they could have done better. The movie is great, while the extras here do not justify the entire release. I wish they could have included the extras I have on the 2-disc DVD set. Then this would be a full 5-star review. Shame.