Hostel is a 2005 horror film written and directed by Eli Roth. It stars Jay Hernandez, Derek Richardson, Eyþór Guðjónsson, and Barbara Nedeljáková. It was produced by Mike Fleiss, Roth, and Chris Briggs, and executive produced by Boaz Yakin, Scott Spiegel, and Quentin Tarantino. The film follows a group of American tourists, as they end up in Slovakia where they are eventually taken one-by-one by an organization that allows people to torture and kill others.
Hostel was released theatrically in the United States by Lions Gate Films and Sony Pictures Releasing's Screen Gems on January 6, 2006, and in the Czech Republic by Falcon. The film received divisive reviews from critics, but grossed $82 million worldwide on a $4.8 million budget. It successfully launched a film series, and was followed by Hostel: Part II (2007) and Hostel: Part III (2011).
The hallowed tradition of the post-college European backpacking trip turns into an unimaginable nightmare for two unsuspecting American 20-somethings in Eli Roth's (CABIN FEVER) sensational second outing. Paxton (Jay Hernandez) and Josh (Derek Richardson) have embarked upon a hedonistic tour of the continent, and somewhere along the way they picked up an Icelandic lunk named Oli (Eythor Gudjonsson). In Amsterdam the trio partakes of the pastimes most dear to frat boys everywhere: weed, prostitutes, and nightclubs. But when a fellow traveler tells these thrill-seekers about the decadent scene that awaits them in Bratislava, they find themselves unable to resist its lures; enticed by the promise of a hostel full of beautiful girls who love Americans, they set out for the remote areas of Eastern Europe. There, the sex farce to which the film's first half is devoted slowly turns ominous, as the boys hook up immediately with the gorgeous Natalya (Barbara Nedeljakova) and Svetlana (Jana Kaderabkova), whose eagerness masks more sinister intentions.Soon, the disagreeable backpackers find themselves on the other side of the flesh trade, sold by the girls into an exclusive human trafficking operation that gives its customers the opportunity to torture and kill a helpless victim. Much of what follows consists of the squirm-inducing surgical horrors that characterize precursors such as SAW, with the implications regarding the capitalist system and the human soul becoming ever darker. Produced by Quentin Tarantino, the film amps up the gore factor as much as it can get away with, and, in the tradition of the best horror films, offers a satirical socially conscious commentary.
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