What do you do when the sensation of sex no longer satisfies? What are your options when the adrenaline rush and power of money (and making same) no longer fill the void? Do you simply sit back and wait for the inevitable heart attack, stress striking all viable organs until your Type-A lifestyle eventually kills you? Or do your take matters of life and death into your own hands and use all that pent up aggression as an excuse for dabbling in the darker side of life? If you’re the super-successful business types prowling around the edges of international legality and human morality in Eli Roth’s amazing Hostel Part II, you join an exclusive social club that caters in human flesh as the way to fulfill those fiendish fetishes. And Heaven help the young people being bid on as the murderous means of such psycho-erotic release.
Roth’s original Hostel, a vision of Europe as one big urban legend and Americans as the ugly within it, continues to stand as one of the most important horror films of the last ten years. Brutal in its vision while equally effective in its subtext, it woke up a waning genre and proved that gore could be both viable and visceral. It even created its own categorical catchphrase – “violence porn” – that has come to define any film where innocents are horrifically used and abused for their value as medical commodities (Turistas) or entertainment (Live Feed). Now mutated into all manner of sensationalized labels – ‘smut snuff’, ‘gorno’ – the inherent worth of Roth’s film has been superseded by media and public perception of a young, cocky filmmaker flaunting the mainstream to make his own craven, cruel statements.
Well thank GOD for that. It’s one thing to play nice in order to keep the PC thugs in check. It’s another to offer up nonstop brutality merely for the sake of shock. The original Hostel did neither, and the new film is even better at tempting taste while staying safely in the realm of reasonable dread dynamics. You’ll be hearing a lot of outcry over the next few weeks about this so-called cinematic abomination. There will be pundits and persons directly linked to the business of show who will argue for Roth’s lack of humanity and inner childishness, but those voices will be self-serving and self-congratulating. When it comes down to it, Hostel Part II is the near perfect sequel, a money mandated continuation that actually works as a companion piece to the original effort.
After wrapping up the last loose end from the previous picture, we are introduced to three young coeds studying abroad – rich girl Beth, spoiled skank Whitney, and depressed loner Lorna. Lured to a Slovakian spa by visiting artist’s model Axelle, the girls soon travel to the far ends of the Easter block, check in to the infamous title inn, and prepare to party and relax. Of course, the audience knows much, much better, and it’s not long before the gals are being bid on like sick corporeal commodities. Two participants in such depravity are Todd and his sheepish buddy Stuart. Traveling the world looking for the ultimate kicks, the pals have shared many deplorable experiences. But this one may be the icing on their desperately distorted cake. Todd sees committing murder as a way of improving your potential business acumen and ‘aura of danger’. Stuart has a far more suspect reason for this descent into murderous madness.
Still as shocking as ever, but more polished and perceptive this time around, Hostel Part II does a rather remarkable thing. Saddled with creating a follow-up to his first film, Roth avoids an actual redo. Instead, he obviously sat down with his original script and decided to fashion a 180 degree opposite take on the subject matter. Gone are the madcap moments of sex, drugs and gore-drenched debauchery. In their place are moments of real tension, suspense amplified by a better knowledge of the sinister circumstances, and killings that are quick, aggressive and highly disturbing. While the female angle is the most obvious twist (more on this in a moment), the real revelation is the creation of the Elite Hunting Club and its collection of corrupt membership. In Hostel, we got a fleeting glimpse of the creepy clientele, most notably an American with more moxie than manners. Here, we are introduced to a network of fiends, and head honcho Sacha who can easily be bought and sold, as long as the price is right.
Even better, Roth delves much deeper into the motives of his victims. Granted, he presents the trio as supersized stereotypes from the Big Book of Female Archetypes, but our wealthy woman isn’t some mean spirited snob, nor is our happy go lucky whore completely without moral fortitude. No, it’s Lorna (essayed by Welcome to the Dollhouse’s Heather Matarazzo) who lamentably plays the role of needy loner to its typically fatalistic ends, and it is here where Hostel Part II makes its first significant statement. In an attempt to keep the spoilers to a minimum, the infamous legend of ‘Countess Dracula’ (the Hungarian "blood queen" Elizabeth Báthory) gets the kind of horrifying update that will keep tongues wagging for weeks. Combining the worst elements of male fantasy and fright film referencing (there’s a noticeable nod to Angel Heart as well) this first major murder scene is destined to go down in movie macabre as the one of the most notorious – and to some, the most noxious.
Of course, said repulsed reaction is only coming from one place, and it’s not as well meaning and high minded as the critics would have you believe. Far worse things happened to the characters in the initial Hostel, and the outcry was not this intense or outrageous. In essence, the notion of gender equity doesn’t exist in the realm of cinematic reality. Kill a beer-swilling dude with his passion in his penis and you’ll get a minor murmur. Cut the throat of a sad, depressed female adult and everyone’s inner parent comes crying. It’s a concept inherent in Roth’s redesign of the film franchise, and you know he has to love all the hand wringing and kvetching. Back in the ‘80s, girls were the notorious targets of all manner of slice and dice serial killer, and except for Roger Ebert and Gene Siskel, everyone took it as a gratuitous given. Now, with decades of deconstruction and pro-PC protocols, you just can’t torture and kill young women without accepting some kind of sociological payback.
Roth is way ahead of the game, giving us only one major drawn out damsel in distress sequence. The rest of the time, events happen off screen, or within a unique twist on the aggressor/victim paradigm. Indeed, all of Hostel Part II is about bucking trends. Don’t listen to the messageboards that lament that this is more of the same thing. It’s not. The gore is limited and hardly as excessive as the first time around. The terror isn’t tied to the torture scenes themselves, but what happens in and around them. The characters are more clearly drawn, developed far beyond their archetypal façade. And Roth’s direction has improved by leaps and bounds. Where once he seemed like a homemade movie maven lucky to get his basic b-movie ideas up on the big screen, he now comes across like the beaming bastard son of a dozen equally diabolical cinematic stalwarts.
Still, it will be hard to hear your own thoughts over the media din about to accompany this film. Grassroots campaigns will start, backlash will begin, and Roth will be labeled everything from a slick charlatan trading arterial spray for actual talent to a chauvinist shilling his perverted perspective to a desperately under-educated fanbase. Of course, none of this is true. If do-gooders want a collection of movies to grumble over, this critic could give them a laundry list – Scrapbook, Murder-Set-Pieces, I Spit on Your Grave, Last House on the Left, Henry: Portrait of a Serial Killer, plus many, many more – of deplorable efforts. While it’s true that in our current mainstream perspective, violence against women is a rightfully taboo subject, in the context of a FICTIONAL horror storyline, it’s desperately old hat. Leave it to Eli Roth to make the ancient seem appalling once again. It’s just one of Hostel Part II’s many unconventional conventions. It’s the reason why this sequel is as successful as its precursor.