Eli Roth’s Hostel: Part II . . . to put it simply, it’s largely more, but lesser, of the same. For people who enjoyed the intent of Hostel, such individuals will find the sequel viewable while fanboys will yawn at what can, for the first time in the franchise, be rightly designated as horror porn for the feature does little to top what preceded it.
A mirror image of its forerunner, Hostel: Part II follows three jolly-go-lucky coeds–Beth (Lauren German), Whitney (Bijou Phillips) and Lorna (Heather Matarazzo)–from Rome to Slovakia where a human slaughterhouse has already confirmed high bids upon them.
Violence just seems to bring out the best in us all. For example, Roth’s sequel prompted James Berardinelli to rise to his subjective best as he, in a one fell swoop, wholeheartedly dismisses an entire film genre, “Hostel Part II isn’t a good film, it’s a horror movie” as he dogmatically refuses to even consider the notion that he might be passing haphazard judgment, i.e. “The movie is soulless, but that’s nothing new for a modern horror film.” Amazingly, the all-but-guaranteed feminist tongue lashing of a film which targets females exclusively hasn’t presented itself for, alas, Hostel: Part II’s predecessor usurps what is often labeled genre cliché by placing males in its murderous crosshairs.
Thus, outside of the ever dependable ramblings of mainstream criticism, Roth’s feature raised surprisingly few hackles, thereby implying that the filmmaker had failed in his mission as director of a graphic horror sequel. Since Hostel got people talking, shouldn’t the upped ante of its offspring provoke twice as much chatter? For whatever reason, little attention was given its visceral nature, especially since it has the courage to lapse into the taboo topic of male genitalia (has anyone recovered from Harvey Keitel in Jane Campion’s The Piano?). So what remains considering its paterfamilias has two sides, its surface bloodshed as well as its underlying critique of Capitalism?
Whereas Hostel preoccupied itself with the political, moral, and economic aspects of the disproportionate distribution of wealth, i.e. Capitalism, Hostel: Part II seems content to explore the psychology of sadism atop casting a view of human nature which would make Thomas Hobbes proud. Unfortunately, a discussion of the former would necessitate a spoiler which would foil one Hell of a well-executed plot twist atop a shocking reversal of roles. Of latter note, Roth levels the playing field as everyone is seen as equally capable of animalistic, potentially deadly, violence, from introverted vestal coeds, to subverted businessmen, all the way down to children merely wanting bubble gum. Leviathan be damned.
Yet, though superficial in the greater scope of things, the largest divergency between the two works is the successor’s construction and execution. Hostel: Part II flows more readily as a narrative. For instance, as a thriller, Roth does a great job early on as he plays with his audience as a heart monitor directs the viewer’s pulse as, meanwhile, a scenario is cast in which the previous film’s plot is plausibly divulged without undue attention. Perhaps the most eerie facet of the feature, aside from the lesson of how spine-chilling the sound of a blade actually is as it snags upon taut skin, takes place in a matter of seconds as a cameo by Cannibal Holocaust director, Ruggero Deodato, is issued as his character nonchalantly listens to opera while coolly, as if the victim were already a corpse, slicing off a portion of his victim’s thigh before sitting down to enjoy his exceptionally fresh evening meal. Moreover, the production value of the film bypasses its precursor as Roth decides to actually light his stages, thereby making Hostel look like Tobe Hooper’s The Texas Chain Saw Massacre by comparison.
Though Roth does have fun at his own expense as it is confirmed that “There hasn’t been war in Slovakia in fifty years,” Pulp Fiction is seen airing once more on the notorious hostel’s lobby television, as the wrenching blowtorch from the first film is waved in our faces before being benevolently employed, a literal blood bath takes place by perhaps the most a) blatantly- and/or b) lethargically-named character in recent memory, Mrs. Bathory (Monika Malacova). (Though the “Mrs.” is a trite disturbing in and of itself.) Unfortunately, though answers are provided, both from a narrative perspective as well as conceptual as the dynamic–Elite Hunting is expounded upon, thus evoking further hatred for its clientele as we view how involved they are in the illicit trade (the $25,000 high price in Hostel turns out to be a starting bid) atop how frightfully well thought out the business is as seen in its contractual obligation to kill upon entering so that, should someone go to the police, the person would consequently implicate him or herself as the director’s intent with his previous leitmotif of whether or not Master and Slave are one in the same is verified as par sequel protocol, not only does an avenger appear, but this time the character makes a point to–not murder in a cursory manner–but deliberately seek out her antagonists respectively–the theme of the Elitists never being seen shedding blood is eradicated twice over, though, to the production and director’s credit, the sexism and homophobia of Hostel are kept to minimum, though Whitney calls a foreigner “Borat.”
In short, Eli Roth’s Hostel: Part II is worthy if one was conceptually intrigued by the charter installment. And, if you indeed like what you see, to countless mainstream critics’ chagrin, the potential for a trilogy is left open as a motive for vengeance is given to a bubblegum gang member as it is only ironically partially sought by the film’s resolution. Wonder what they’ll say about Part III?
– Egregious Gurnow
This film provided by Cape Video, the premier supplier of hard-to-find and out-of-print horror films. Check out their website at http://www.capevideoonline.com.
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