Hostel: Part III (2011)
★ / ★★★★
Scott (Brian Hallisay) was about to be married in a week so Carter (Kip Pardue), the best man, decided to take his friend to Las Vegas, Palm Springs being their cover from Amy (Kelly Thiebaud), for a bachelor’s party with Justin (John Hensley) and Mike (Skyler Stone). As the four gambled, Kendra (Sarah Habel) and Nikki (Zulay Henao) eyed Scott from a distance and later informed them that there was a party way out from The Strip. As the hours passed by, Mike was eventually nowhere to be found. “Hostel: Part III,” written by Michael D. Weiss and directed by Scott Spiegel, was promising because of its surprising first scene involving a scraggly guy in his twenties (Chris Coy) who mistakenly entered an Eastern European couple’s hotel room and was invited to have a drink. While its predecessors were set in Slovakia, it should be noted that this installment took place in Las Vegas. In its own way, on purpose or otherwise, it created a challenge for itself. Since Eli Roth’s “Hostel” and “Hostel: Part II” were set in a foreign country, it was almost easier to identify with the characters, despite their seemingly innate lack of common sense, because of their nationality. There was an underlying statement about the xenophobia found in all of us when we are in a different country and hear people speak in a foreign tongue. In this picture, the Americans became the tormenters, so the protagonists had to have something special in order for us to root for them. They did not. While each had his own distinct personality and temperament, we knew nothing about them other than their quirks and what they told one another. Hence, when the twists in the screenplay finally arrived, I felt little to no emotional impact while watching it. Although the scenes involving torture were still grizzly and bloody, one of them involving bugs, they failed to encourage a visceral response from me. Perhaps it had something to do with the style of shooting scenes and the way they were put together. Instead of having drawn-out sequences designed to increase our dread as the characters became more confused about the whereabouts of their friends, there was more than a handful of scenes interrupted by manic cutting and aerial shots of the city. Furthermore, there tended to be more people in one shot which took away some of the feelings of isolation we were supposed to experience with the characters. There was one change that I thought was somewhat interesting. Instead of simply having a room with just a victim and his tormenter, people were actually allowed to watch from behind the glass. The spectators’ chairs had buttons that they could press if they chose to bet, for example, how many arrows it took to kill a person. The concept worked because it made sense in terms of the film’s setting. If “Hostel: Part III” was able to take that level of creativity and had been more consistent with it, it would have been a passable addition to the franchise. It was hinted that Elite Hunting had more branches, one located in Asia. With all the missing people because of this sadistic group (who liked to hunt Americans) one would think that the FBI or the CIA were more informed.
I Saw the Devil (2010)
★★★★ / ★★★★
A woman was driving in the middle of nowhere and her luck turned grim when one of the tires gave out. She called her husband, Secret Agent Kim Soo-hyeon (Byung-hun Lee), to inform him of her predicament. In the middle of their phone conversation, a man named Kyung-chul (Min-sik Choi) knocked on her window and offered to help. She refused, told him that she already called a car service, and thanked him for his kindness. He insisted but she refused again. So he decided to break into her car and beat her until she lost consciousness. When, covered in a plastic bag, she became aware of her surroundings, he transected her limbs and threw her head into the river. Written by Hoon-jung Park and directed by Jee-woon Kim, “Akmareul boatda,” also known as “I Saw the Devil,” was an intense psychological study of a man so hell-bent on vengeance, he didn’t care if he hurt the wrong man. The lush cinematography made an interesting contrast with the characters’ dark ideations. When the searchers found the woman’s head in the river, there was something so sad and sinister about the scene. It was sad because her father and husband expected that the head wouldn’t be her’s but at the same time they somewhat knew that it was over. It was sinister because I felt like Kyung-chul was watching among the crowd of journalists and photographers. What I found unique about the story was in the way Agent Kim had the upper-hand for most of the film. It was unpredictable because it didn’t follow a typical narrative. For instance, the sadistic killer and the husband confronted each other prior to the half-way point. With each time the killer lost a physical confrontation, a part of his body was broken and he was allowed to run (or limp) away. Unbeknownst to the killer, the secret agent forced him to swallow a tracking device. The comedy kicked in when Kyung-chul was aghast that every time he was about to molest a young girl, Agent Kim foiled his plans and gave him another broken body part. Behaviorism failed to work. We wanted to see the killer suffer but there came a point where we had no choice but to ask ourselves how much was enough. Agent Kim claimed that the violence he inflicted was driven by the promise he made to his late wife. But maybe there was something inside him that relished being in control of another human being and acting like he was above the law. It worked as a meticulous case study of what torture does to the person inflicting the pain. As wild as the picture became, I admired that it had ways of pulling us back to the murdered wife. I especially liked the way the director handled the difficult phone call between Agent Kim and his wife’s family. His father-in-law actually asked him to stop. I imagine it must have been so difficult for him to come to that decision. “What you’re doing will not bring her back,” the sister said. Agent Kim’s eyes searched for an answer that could prove her statement wrong. There wasn’t any.
★★★ / ★★★★
Fifteen years ago, Lucie (Mylène Jampanoï) escaped an abandoned factory where she was tortured for reasons unknown. When she was placed in a facility which housed victims of child abuse, she was befriended by the kind Anna (Morjana Alaoui) despite Lucie’s much darker past and chilling visual hallucinations. Anna voluntarily took up the role of the Lucie’s crutch so she had to be the strong one. Eventually, Lucie made it her quest to hunt down the people responsible for her torment but that was simply the beginning. Although highly influenced by the “Saw” series, “Martyrs” was a stronger breed because the gore was amplified, the violence was more unflinching, and the questions it brought up about cruelty and human experimentation were actually interesting. The film had a Hitchcockian twist. Since Lucie was the survivor of the first scene, I assumed she would be the one we were supposed to follow throughout the picture. But as it went on, I started to doubt whether she was a particularly trustworthy protagonist because she didn’t have a full grasp with reality. Was the family she murdered in cold blood truly responsible for her kidnapping and torture? Then the film made an astute decision. Half-way through, it was revealed that this was Anna’s story as she had the unfortunate luck to go through what her best friend went through and then some. When she was taken in a torture chamber, there was a brilliant twenty to thirty minute interval when not a word was uttered. All we heard were sounds of a spoon scraping a metallic plate as a woman forcefully fed Anna some disgusting-looking green goop, a man landing heavy blows on Anna’s already frail body, and the sounds of scissors chewing through Anna’s hair as if it hadn’t been fed in years. It was very painful to watch but I was so curious as to why such cruelty was being done to her. When it was revealed, it felt inspired yet empty. It was inspired because I could not recall a villain that performed evil things for the same reason. It was nice that the mysterious individuals didn’t want their victims to learn a lesson or to value the life they’ve been given. At the same time, it was empty because the tormentors’ endgame was so subjective. I started asking questions like how they earned money to build such futuristic-looking facilities and machines. I had to laugh to myself a little bit. But perhaps it was a defense mechanism because I needed to process the very shocking images I just saw. Written and directed by Pascal Laugier, “Martyrs” is without a doubt not for people with a weak stomach. Meanwhile, fans of sadistic horror might be pleasantly surprised. I had no idea what I was in for. In the end, I felt a mixture of sadness, horror, and disgust. My body felt so weak, I couldn’t even make a proper fist.
Léon: The Professional (1994)
★★★ / ★★★★
Jean Reno, a reclusive assassin whose best friend is a plant, takes twelve-year-old Natalie Portman under his wing after her family was killed by police officers led by Gary Oldman. Written and directed by Luc Besson (“The Fifth Element,” “La Femme Nikita”), I enjoyed “Léon” because it was more about the humanity of a contract killer instead of his many interesting ways of killing. Even though the action sequences could be found more toward the beginning and the end of the picture, I still found Reno and Portman’s relationship to be quite endearing. Undoubtedly, there were times when I found the director would cross the line between father-figure/daughter relationship and older man/younger girl relationship. Those scenes made me uncomfortable but perhaps it was because this was Besson’s first full English-language movie. In my opinion, European films have a more sensual feel compared to American movies. Still, I was able to overlook such flaws because I found the story to be interesting even if it needed to have more depth. Another quality I liked about this film was that there really was no “good” character. Pretty much everyone had done something shameful in their lives. And the main character was aware of this so he locks himself up in his room and only comes out whenever he has an assignment. Oldman’s character was the kind of guy that you love to hate because he has no redeeming quality. Nevertheless, I thought he was very interesting to watch because of his quirky mannerisms and sinister aura. I kind of expected an intense duel between him and the protagonist so I was somewhat disappointed with the ending. For such a sadistic man, I thought the bad guy would suffer more in the hands of another killer and get the delicious irony he deserved. If one is looking for action with picture with a heart, I’m giving “Léon” a pretty solid recommendation despite its sometimes glaring flaws.
In the Realm of the Senses (1976)
★★★ / ★★★★
Writer and director Nagisa Oshima tells the story of a former-prostitute-turned-maid’s (Eiko Matsuda) and her employer’s (Tatsuya Fuji) sexual obsession with each other. After Matsuda sees Fuji making love with his wife, something inside her changes–it is as if she has to have him no matter what the cost. When the two eventually sleep together, they begin to spend pretty much every minute in bed together as they experiment with their sexuality, sometimes in front of other people. I liked that this film really tried to push the boundary between art and pornography. While it did show certain body parts that a “normal” picture would not normally show, it was different from pornography because it had a story to tell: the repercussions of surrendering to one’s desires without ever having to think of the consequences. To me, even though this was released in 1976, it is still very relevant today, especially in college campuses, due to the high rate of casual hook-ups or one night stands. One can never really know what one is getting into by inviting another person into one’s life–may it be for sexual purposes or otherwise. Disease is one of the first things that comes to mind (or should come to mind) when one engages in random hook-up, but psychology should also come into the equation. I’m not saying that people with mental disorders are always violent (they are not). I’m referring to people’s fetishisms and what they are willing to do to maximize their pleasure. In this film, the two lovers eventually tried to suffocate each other for one reason: it felt good. Other issues that were explored include excess, sadism, masochism, traditional gender roles and transgressions of societal norms. While most people may get lost in its graphic portrayal of sex, one should really try to look at what’s underneath because it’s that much more rewarding. “In the Realm of the Senses” is indeed a classic and should be seen and remembered by film-lovers because it’s one of the first motion pictures that tried to tread the fine line between art and pornography and was successful at it.