Hostel: Part II: Critic Reviews

Eli Roth's Hostel: Part II is an authentic real-world creep show -- better, if anything, than its predecessor.

Sports glossier production values, but its driving motivation -- to push the boundaries of exploitative nastiness -- remains just as low.

Everything, save the bloody third act, is handled in a rudimentary fashion.

Any semblance of suspense quickly gives way to buzz saws, drill bits and sickles. And the movie ends so abruptly, one has to think the filmmakers ran out of either money or prosthetic body parts.

Roth might have chutzpah, but, sadly he doesn't have any interest in actually scaring us. The moviemaking is driven only by contempt; he wants to nauseate us into submission.

Ends up there is a moral to the story, one sure to delight the bamboozled pseudo-intellectuals who laughably defended Hostel as a geo-political critique of American arrogance and the culture of torture.

Smarter and tougher than its predecessor.

Roth ratchets up the retch factor.

You live in a free country, you put up with crud like Hostel Part II.

Roth's dark humor and lacerating view of human weakness sometimes suggest George Romero; what he lacks is Romero's stubborn belief in personal morality.

The violence we see does not disturb or even excite, but, like porn, it anesthetizes us to our own humanity.

Hostel: Part II offers more hard-core horror and an even more outspoken message [than the first].

The only way to watch is to suspend any literal-minded analysis and appreciate Roth's Grand Guignol sensibilities on their own level.

All it has to say is: Here's human puree served fresh and hot, come and get it.

Take away the blood and gore, however, and there's nothing left.

Eli Roth kicks things up a jagged notch with this bloody satisfying sequel.

Roth is good at what he does. Trouble is, he keeps making the same kind of movie over and over, and with his talent and imagination you'd like to see what other weapons he has in his arsenal.

Gory torture bloodbath checks in for another stay.

Poseur callousness all the way

This second film definitely shows Roth's absolute courage as a director. He didn't pull any punches with this follow up.

The lasting effect of all three of Eli Roth's films is a certain kind of Grand Guignol "Punk'D", in which the "mark" is not only embarrassed, he's also cut to pieces.

Roth nao e apenas um sujeito doente e repulsivo, mas tambem um picareta sem talento que usa seus filmes para torturar o espectador como num de seus "albergues".

In the end, one comes to the conclusion that Roth, like his mentor Quentin Tarantino, is someone who is very good at talking the talk but can't quite bring himself to walk the walk and himself make the kind of film his own are parasitic upon.