Okay Movie, Excellent Premise

Rating: 8/10 (11 April 2006)

What you see in the screen when concerning Eli Roth's newest project, Hostel, is okay although not excellent. This movie, like any other, has its ups and downs; the ride was dark, curious and definitely entertaining, and it displayed a nihilistic view through not entirely unsympathetic characters. While watching it, especially after the first admittedly fun half hour, I found myself thinking it quirky, but not exactly a masterpiece.
It was once the movie was over, though, that I got to think. And it was thinking about the premise, about the truly dark, sinister and yet perfectly realistic theme. About the subtext which, maybe, I didn't catch the first look through, but which definitely was present when viewing it later. And you might not want to see it, but once you have a deep thought on it, this gory, at times comedic film becomes something entirely different  and by all means effective  which haunted me days after I realized so.
If you're willing to give this movie a second thought, and actually glance at its true motives, it becomes *terrifying*. The classic formula of sex and gore really disguises the dark message, but it's there  and it's true. Very, very true.
Relating to the plot, this time's excuse moves on as we follow three colourful, happy characters who present a clear and radical contrast with the flick's dark setup. This movie tricks and truly plays with the viewer by making them believe exactly the opposite of what truly is going on as our joyful, enthusiastic heroes meet abrupt ends at the hands of antagonists who are gruesomely mentally perturbed, and yet extremely realistic.
Through the first half hour, the characters are introduced as basic stereotypes, but while one of them doesn't live enough to be properly developed, you do get to feel for them as they crave escaping from their torturers. At one point, one character (one I was particularly empathic with) is given a predictably false chance to escape, but the short sequence where he crawls for the exit of the room where he's being held captive is so intense, you can practically feel the fake pain. A friend I went to the cinema with started whimpering at this point, eyes shut as the character met a particularly grisly end.
It's true, maybe, that this movie takes its time to get to the real 'meat and potatoes'. But nothing, and by that I mean literally _nothing_, happens without a plausible and unquestionable explanation  and reason  to back it up later in the movie.
So I'm all for people giving this little movie a chance. Hostel is twisty, disturbing, and freaky  you have to give it that.