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Free Movie Screenings
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"Hostel 2" "Hostel 2 Trailer" - First Look "Hostel 2" - In Theaters June 8, 2007
Last January, writer/director Eli Roth terrified moviegoers with the blood-drenched "Hostel," which catapulted to the top of the box office charts and became the first Number One film of 2006. One year later, Roth takes us back to where it all began, and deeper into the darkest recesses of the human mind. In "Hostel 2," three young Americans studying art in Rome set off for a weekend trip when they run into a beautiful model from one of their classes. Also on her way to an exotic destination, the gorgeous European invites the coeds to come along, assuring them they will be able to relax and rejuvenate. Will the girls find the oasis they are looking for? Or are they poised to become victims for hire, pawns in the fantasies of the sick and privileged from around the world who secretly travel here to savor more grisly pursuits? With "Hostel," Eli Roth cemented the cutting-edge credentials he earned with his debut feature "Cabin Fever" (2002). In "Hostel 2," Roth invites fans to take another frightening trip where suppressed urges - once unleashed - have chilling consequences. Wild About Movies Grade: D "Hostel 2" Writer/director Eli Roth is always looking for ways to scare people; yet unlike most horror auteurs, Rothknows that real life stories, and their revelations about the darker corners of human nature, are often muchmore frightening than monsters and boogeymen. With his debut feature, CABIN FEVER, he turnednewspaper headlines about a fatal flesh-eating bacteria into a horrific bloodbath among a group of youngvacationers. Now, with Lions Gate Films’ HOSTEL, Roth once again draws inspiration from real events, this time with even more disturbing results. Roth discovered the creative seed for HOSTEL during a late-night conversation with his friend Harry Knowles, the web-master of Aintitcoolnews.com. “We were talking about the sickest thing you couldpossibly find on the internet,” Roth recalls. “Something that went beyond the usual bestiality, skateboarding accidents or even those two Japanese girls vomiting into each other’s mouths in a bathtub.” Knowles claimed he had stumbled across something so frightening he was hesitant to confess its discovery to Roth, which only made the director more curious. Knowles eventually forwarded Roth thelink to a website; and what Roth discovered disturbed him more deeply than he could have imagined: somewhere in Thailand, a business was profiting on the visceral thrill of murder. For a fee of $10,000, anyone so willing could be escorted to a room, handed a loaded gun and offered another human being tokill. “The concept instantly made me nauseous,” remembers Roth. “But it also felt real. People are sick. There are no limits to what they will do to another person for their own pleasure, and that’s the most horrifying thing of all. It’s what always stuck with me.” The site claimed that in Thailand the practice was perfectly legal, as the victims were participating of theirown free will. They were desolate, poverty-stricken people whose families were starving to death. By way of their self-sacrifice, they would make enough money for their loved ones to survive. “The website made it sound as if the prospective killers were benefactors, like they were doing a service for the victims by way of this bizarre life insurance scheme,” says Roth. Three weeks after his conversation with Tarantino, Roth showed a completed draft to Boaz Yakin and Scott Spiegel, Roth’s partners in their horror production company, Raw Nerve. “Boaz and Scott were incredibly enthusiastic about the project, and they contributed great ideas to the story,” Roth says. “After months of looking for our next project together, we knew we had finally found it.” Roth then showed a revised script to Tarantino. Tarantino was such a fan of Roth’s draft he decided to make HOSTEL his next “Quentin Tarantino Presents” project and immediately joined the production as an Executive Producer. Says Tarantino, “Eli’s really found a way to push the envelope. No one’s ever seen anything like this.” Producers Mike Fleiss and Chris Briggs subsequently contributed their own ideas to Roth’s script, resulting in a production-ready draft that was even more frightening than before. Galvanized by thescript’s dynamic development, the producers raced right into production. A month later, production offices were set up in Prague.
Roth and Chadima collaborated with production designer Franco Carbone, who had worked with Roth on CABIN FEVER, to create a fun, bright atmosphere that slowly evolves into a bleak and nightmarish universe where the only color is blood. The team carefully chose a color and texture palate for everyscene, deriving their aesthetic from the macabre photographs of Joel Peter Witkin and the dark short filmsof the London-based Brothers Quay (STREET OF CROCODILES). In order to enhance the story’s visual authenticity, the production shot entirely on location. During thecourse of the forty-day shoot, the production moved locations 30 times, from the exotic 16thcenturyvillage Czesky Krumlov, which doubles as the film’s Slovakian village, to the basement of a closed downmental hospital built in 1915. Throughout the production process, Roth knew that HOSTEL would be a marked departure from CABINFEVER. “I didn’t want to make another horror-comedy,” reports the director. “I wanted HOSTEL to be apure horror film – one that starts out fun, but gets darker and darker and never looks back or winks at theaudience.”If classic 1970s American horror was the inspiration for CABIN FEVER, then Roth credits Asian andSouth Korean horror filmmaking as the inspiration for HOSTEL. Yet Roth was relatively ignorant ofyoung Asian masters like Hideo Nakata, Park Chan-Wook, and Takashi Miike until he attended worldfilm festivals during the promotion of CABIN FEVER. “I was exposed to a whole new world of Asiancinema I never knew existed. I was stunned,” says the director. “Their horror films are so much morecreative, disturbing, and effective than anything I have seen coming out of America. I started watching asmany Asian and South Korean films I could get my hands on.” Roth cites films like Miike’s AUDITION, Park’s SYMPATHY FOR MR. VENGEANCE, and olderfilms like Sluizer’s THE VANISHING and Hardy’s THE WICKER MAN as important touchstones in thedevelopment of HOSTEL. Particularly fond of Miike, Roth even wrote a part in HOSTEL for the cultJapanese director, and was honored when Miike flew to Prague from Japan to play the role. Relentlessly graphic and deeply disturbing, HOSTEL should confirm Roth as an exciting director poisedat the cutting edge of modern horror filmmaking. Like his Asian counterparts, he deliberately stretchesgenre boundaries in an effort to locate authentic, raw terror. “Directors like Miike and Park have been pushing the envelope of cinema for years,” says Roth. “And that’s always been my goal from thebeginning. I think HOSTEL will surprise even hard core genre fans.”
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In The Spotlight! 2006 Movies, 2007 Movies, 2008 Movies, 2009 Movies, 2010 Movies, 2011 Movies & TODAY - Movie Poster Premiere - I'm Not Like That
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Movie Trailers and Movie Posters of ALL "2010 Movies" & "2011 Movies" Coming To Movie Theaters
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