Re: Hostel Part 3 Full Movie In Hindi Download
Eduviges Gearlds
In Rome, three American art students, Beth, Whitney, and Lorna, are convinced by Axelle, a nude model they are sketching, to join her on a luxurious spa vacation in Slovakia. The four check into a hostel, where the desk clerk surreptitiously uploads their passport photos to an auction website ran by the Elite Hunting Club. American businessman Todd and his best friend Stuart win the bids on Whitney and Beth, and excitedly travel to Slovakia.
In another room, Todd terrorizes Whitney with a power saw, but loses his nerve after accidentally partially scalping her without killing her. Horrified, Todd tries to leave, but is informed that he must kill Whitney before leaving. Todd refuses and tries to leave anyway, but the guards release attack dogs, which tear Todd apart. The Elite Hunting Club then offers the maimed Whitney to the other clients to kill, including an elderly Italian man who is eating Miroslav alive. Stuart, after learning of Todd's death, shows Beth the pictures of the maimed Whitney to frighten her, then accepts the club's offer, leaves Beth, and beheads Whitney.
Meanwhile, Stuart, who has now officially made up his mind, prepares to torture and kill Beth, explaining that she bears an extremely close resemblance to Stuart's wife, whom Stuart hates but has never had the opportunity to kill. Stuart then begins to torture her, but Beth is able to seduce him into untying her from the chair. Stuart attempts to rape her, but she fights him off and chains him to the chair. Sasha and the guards arrive at her cell, where Beth offers to buy her freedom with part of her inheritance, and though Stuart tries to outbid her, Sasha reveals that he knows that Stuart cannot afford to do so. After Sasha tells Beth that she must kill someone before leaving, she cuts off Stuart's entire genitalia and leaves him to bleed to death, an act that gives pause to even the jaded guards. Satisfied, Sasha gives Beth an Elite Hunting tattoo, making her an official member.
Roth sought Lauren German for the lead role based on her performance in The Texas Chainsaw Massacre (2003).[4] "Lauren has a sense of humor, but she can also handle those horrific, intense moments," explained Roth. "I needed an actress who would be so vulnerable and so likeable, but then really strong when she needs to be. Even though Lauren probably weighs ninety pounds soaking wet and looks like a princess, you feel like she's kicking ass."[4] Bijou Phillips was cast as Whitney after impressing Roth with her audition.[4] For the part of Lorna, Roth had Heather Matarazzo in mind from the beginning; she flew to Los Angeles to read for the part, unaware that Roth was meeting to offer it to her.[4]
The overreaching influence of the Elite Hunting Club is evident and is terrifying. It seems as if Paxton knew what was coming for him, as soon as he killed the Dutch Businessman and thought he could get away with it. Although the revenge was short-lived, Paxton's nightmare of him being killed him by an EHC member posing as a detective foreshadowed his eventual death in the opening part of the film. So, no matter how hard you hide from them, they will proactively come for you. Paxton escaping the facility was one of those defining moments I enjoyed seeing, but his life was totally ruined in the process, the moment he escaped and killed members of EHC along the way.
The first scene sets up a familiar space of a nerdy guy entering a hostel room. A beautiful blonde babe with an Eastern European accent greets him. Her boyfriend doesn't mind showing her off, and the nerdy man is a bit embarrassed. We are meant to think we are in Slovakia and the blonde is acting as a siren like the women from the first film. Fortunately, this is not the case. The blonde and her boyfriend are tourists, and they are the victims of the underground murder business that's behind the Hostel plot. The films establishes Las Vegas as the setting and we have four men on a bachelor party getting hooked, bamboozled, and fearing for their lives.
The characters in this hostel film are not sympathetic, similar to the first one. While we don't have a complete subversion of a protagonist, we do have a lead character who isn't a boy scout; he has his relationship flaws. As far as killing the characters go, I think this film is quite tame. The worst death is a face peeling scene. It is disgusting but I would argue that we've seen that kind of death before in plenty of non-torture porn films. Thus, Hostel: Part III isn't torture for torture sake at all. On the whole, the series is about a secret society who enjoy murder, yet we are never in the place of enjoying the murders like we are with slasher films where we sort of root for Jason or whoever in killing teens and co-eds.
Later that night, Axelle begins partying at the annual harvest festival with some presumed new victims when suddenly her handbag is jacked by the street children. She chases after them following them into the woods. She trips over a trip wire looking up she is surprised to see Beth (now a member of Elite Hunting herself) standing over her. Beth says "Nastrovia" a word taught to her by Axelle earlier before decapitating her using a large battle axe as revenge for the deaths of all her friends. The street children then begin playing football with her severed head.
Scott leaves his fiancée Amy to go to Las Vegas with his friend Carter for Scott's bachelor party. There, they meet up with their other friends, Mike and Justin. The four go to a nightclub, where they meet Kendra and Nikki, two escorts Carter secretly paid to have sex with Scott. Kendra and Nikki tell the four men about a "freaky" party they could go to on the other end of town, and the four men take a cab to an abandoned building. At the party, Kendra makes a move on Scott, but he declines and tells her about how he previously cheated on Amy and almost lost her, and does not want it to happen again. Scott wakes up the next morning in his hotel room with Carter and Justin. The three wonder where Mike is, as he is not answering his phone.
The gender politics of horror cinema are ambiguous and ideologically complex. In 2007, film-maker Eli Roth generated considerable debate when he claimed that his film Hostel Part II (2007) was a feminist horror film. More recently, awardwinning screenwriter Diablo Cody generated a similaruproar when she likewise claimed that her film Jennifer's Body (Kusama 2009) was feminist. In both cases, the attacks directed at Roth and Cody stemmed as much from animosity towards their very public personas as from their films' content. These attacks also stemmed partly from long-standingprejudices against horror films as vehicles for violently reinforcing patriarchy, and from the fact that these film-makers, in speaking about feminism, were speaking on behalf of a generalized, unified and coherent entity that most feminists would argue does not actually exist. This articleanalyses the claims made by Roth and Cody and the outcry generated by these claims. Moreover, this article considers whether the contemporary horror film can legitimately serve as a vehicle for forging feminist statements, given both the nature of the horror film and the many competing andcontradictory ideas of what constitutes feminism.
To hear writer-director Eli Roth talk in interviews, you'd think the guy was re-inventing the wheel and crossing major boundaries with his Hostel horror franchise. I hate to burst a person's bubble, but this is just absolutely not true. Hostel: Part II, the sequel to his surprise 2006 hit, is bound to put even the most devoted of gorehounds to sleep. He fills the movie with characters we couldn't possibly care about, and then expects us to be terrified when they are killed and tortured in gruesome ways. The problem is, Roth expects us to be terrified sheerly by bloodshed alone. Violence is not supposed to be the source of the horror, it is supposed to be the result. Roth never seems to quite grasp this, and as a result, Hostel: Part II comes across merely as a special effects make up demo reel surrounded by long stretches where nothing much of interest ever happens.
After a short prologue depicting the outcome of the sole survivor of the previous film (Jay Hernandez), we're introduced to our three heroines this time around. They include all around average girl Beth (Lauren German), slutty Whitney (Bijou Phillips), and over the top to the point of self-parody nice girl Lorna (Heather Matarazzo). They're traveling across Rome taking art courses, and during their travels, they wind up on a train that seems to contain every single obnoxious frat boy and creepy sleaze cliche that's ever existed in cinema history. During the train ride, they befriend an art model (Vera Jordanova) who tells them about a spa located in Slovakia. The three girls unwisely take the model's detour advice, and find themselves staying at the notorious Hostel from the original film, which acts as a secret operation for a group of wealthy people who pay handsome prices to torture and murder the unfortunate travelers who stay there. The girls party, get drunk, and discover too late just what they've gotten themselves into.
In a parallel plot, two wealthy American businessmen named Todd (Richard Burgi) and Stuart (Roger Bart) have decided to join the top secret torture club. They wind up winning the bets on our three young heroines, tell their families they're going away on business, and set off to find a sick thrill in murdering these girls they've never met. Todd is pumped at the idea, while Stuart seems less than sure, and almost seems to be having second thoughts as the two draw closer to their destination. I suppose Roth is trying to give us a look at both sides of the fence. Whereas in the previous film, the villains were mainly faceless killers who murdered innocent young travelers for twisted sport, here he tries to put a face and a personality to the evil. It doesn't work, because Roth doesn't give us enough to go with. We never really learn Todd's reasons for wanting to do this, while Stuart is apparently bored with his upper class suburban life, and is looking for a quick thrill. Stuart is clearly the most interesting character in the film, and cries out for a screenplay that dives deep into his character and his train of thought, which seems to constantly be wavering back and forth. Roth's screenplay, however, is content to only skim the surface of this potentially interesting character, and instead gives us more of the same.
Yes, despite the filmmaker's insistence that he is pushing the boundaries, Hostel: Part II truly is more of the same. We've got another group of travelers that are completely underdeveloped and unlikeable, the movie wastes too much time in pointless set up that seems to go nowhere, and then we're "treated" to about a half hour or so of torture before the end credits relieve the audience of their collective misery. The strange thing is, the torture and violence (the main selling points of the film) is kept mainly off camera this time around. Aside from a sequence that is a literal bloodbath, and a scene near the end that includes the removal of a man's private sexual organ, there's very little to shock or horrify. The movie merely spins its wheels, promising us that this is all leading up to something, only to laugh at us for getting our hopes up. We spend so much of the movie watching the three main girls partying, cut between scenes with the two villains traveling to their destination or talking to each other, that our interest begins to fade and we just want the girls to die so that the movie can be over with. The film throws a little bit of dark humor into the mix concerning some very violent little street kids (when they find a decapitated head, they act like it's no big deal, and begin playing soccer with it), but it can't hide the fact that there's not a single original thought in the screenplay. Even the supposedly shocking torture scenes that the movie leads up to are mostly forgettable, aside from the previously mentioned "bloodbath" scene. Watching the film, I couldn't help but wonder if either I was just becoming desensitized to over the top horror gore, or if Mr. Roth just wasn't trying hard enough.
Hostel: Part II makes the same mistake the original film did, in that it mistakes gore and bloodshed for genuine terror. Unless that violence builds from something, it's just fake blood being splattered on the screen. It also carries on the mistake of making it impossible to care for just about anyone who walks onto the screen. If you want a reaction to the death of the innocent girls, you have to give us a reason to react. The characters of Beth, Whitney and Lorna are so two-dimensional and uninteresting, all we can do is just sit there and think of how they're going to meet their individual end. They possess no personality for us to feel anything for them and, aside from their very basic character traits, are pretty much the same person. I even found it hard to take the character of Lorna seriously, as the screenplay goes to such extremes to display her naivety and sweetness that she looks like she wandered in from a parody of horror films. (While Beth and Whitney drink alcoholic beverages, Lorna is seen sipping from a child's juice box.) As stated before, Stuart is the closest thing this movie has to an interesting character. It's no surprise that Roger Bart's performance as the character is the closest thing the film has to a real performance as well. Having mainly seen him perform in New York theater and comedic films like 2005's The Producers, it was interesting to see his take on such a dark and tortured character, and I wish the movie had used him more.
I think that anyone who walks into Hostel: Part II looking for a good scare is going to be severely disappointed. Horror can do much. It can thrill us, make us excited, make us laugh...This movie does none of that, nor do I think it wants to. This is just another movie title that everyone involved can put on their resumes, and then move on. The idea of wealthy people betting for the chance to kill total strangers is a strong and workable one, but to see it wasted in this film is more terrifying than any death scene Roth can dream up. When it was over, I felt deeply disturbed, but not for reasons the movie intended. I was disturbed by the fact that a filmmaker can completely miss the point not once, but twice.
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