| Photos (see all 39 | slideshow) | Videos |
Directed by | |||
| Eli Roth | |||
Writing credits(WGA) | ||
| Eli Roth | (written by) | |
Produced by | |||
| Chris Briggs | .... | producer | |
| Mike Fleiss | .... | producer | |
| Daniel S. Frisch | .... | co-producer (as Daniel Frisch) | |
| Eli Roth | .... | producer | |
| Scott Spiegel | .... | executive producer | |
| Quentin Tarantino | .... | executive producer | |
| Philip Waley | .... | co-producer | |
| Boaz Yakin | .... | executive producer | |
Original Music by | |||
| Nathan Barr | |||
Cinematography by | |||
| Milan Chadima | |||
Film Editing by | |||
| George Folsey Jr. | |||
Casting by | |||
| Filipp Grammatikos | |||
| Sigrún Sól Ólafsdóttir | (Casting Director, Iceland) (as Sigrun Sol Olafsdottir) | ||
| Ivan Vorlícek | |||
| Kelly Wagner | |||
Production Design by | |||
| Franco-Giacomo Carbone | |||
Art Direction by | |||
| David Baxa | |||
Set Decoration by | |||
| Karel Vanásek | |||
Costume Design by | |||
| Franco-Giacomo Carbone | |||
Makeup Department | |||
| Howard Berger | .... | on-set makeup effects artist | |
| Howard Berger | .... | special makeup effects designer and creator | |
| Jana Dopitová | .... | makeup artist | |
| Klaudie Havlova | .... | additional makeup artist | |
| Kveta Holasova | .... | additional makeup artist | |
| Grady Holder | .... | mold department: K.N.B. EFX Group | |
| Rini Lemanova | .... | key makeup artist | |
| Lorraine Martin | .... | assistant makeup artist | |
| Christopher Allen Nelson | .... | on-set makeup effects artist (as Chris Nelson) | |
| Gregory Nicotero | .... | special makeup effects designer and creator | |
| Andy Schoneberg | .... | makeup designer | |
| Kevin Wasner | .... | on-set makeup effects artist | |
Production Management | |||
| Philip Waley | .... | unit production manager | |
| Pavlina Zipkova | .... | production manager: Czech | |
Art Department | |||
| Milan Babik | .... | property master | |
| Radan Kapinos | .... | stand-by props | |
| Alice Kheilova | .... | assistant to art director | |
| Martina Ter-Akopowá | .... | art department coordinator | |
Sound Department | |||
| Kami Asgar | .... | adr supervisor | |
| Bob Beemer | .... | sound re-recording mixer | |
| Tomas Belohradsky | .... | sound mixer | |
| Brian Best | .... | supervising sound editor | |
| Vincent Guisetti | .... | foley artist | |
| Scott G.G. Haller | .... | supervising dialog editor | |
| Pamela Kahn | .... | foley artist (as P.K. Spencer) | |
| Tateum Kohut | .... | sound re-recording mixer | |
| Herwig Maurer | .... | sound editor | |
| Sean McCormack | .... | supervising sound editor | |
| Fred Peck III | .... | sound re-recordist | |
| Stuart Provine | .... | additional sound effects | |
| Kyle Rochlin | .... | foley mixer | |
| P.K. Spencer | .... | foley artist | |
| Petr Stuchlík | .... | boom operator | |
| Marcelo Teson | .... | sound editor | |
| Tim Tuchrello | .... | sound editor | |
| Pavel Vencl | .... | boom operator | |
Special Effects by | |||
| Ozzy Alvarez | .... | lab technician: K.N.B. EFX Group | |
| Martin Mottl | .... | special effects technician | |
| Martin Pryca | .... | special effects supervisor | |
| Caleb Schneider | .... | special effects technician | |
| Lindsay Vivian | .... | special effects runner | |
| Jenny Wallace | .... | special effects runner | |
| Kevin Wasner | .... | special effects makeup | |
Visual Effects by | |||
| Ulysses Argetta | .... | digital compositor | |
| Ozzie Carmona | .... | digital artist | |
| Miro Gal | .... | location visual effects supervisor | |
| Robert Kurtzman | .... | visual effects supervisor | |
| Jim O'Hagan | .... | digital compositor: Pacific Title | |
| Franklin Purtiman | .... | digital effects artist | |
| Andrew Sagar | .... | digital compositor | |
| Antonio Torres | .... | digital artist: Pacific Title | |
| Alan Tuskes | .... | digital effects artist | |
| Bob Wiatr | .... | digital compositor: Pacific Title | |
Stunts | |||
| Jindrich Klaus | .... | stunt double | |
| Miroslav Lhotka | .... | stunts | |
| Pavel Vokoun | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Libor Bruha | .... | first assistant camera | |
| Petr Cejka | .... | electrician | |
| Shane Daly | .... | additional cinematographer | |
| Ludek Hynek | .... | key grip | |
| Ales Kohout | .... | electrician | |
| Petr Konrád | .... | gaffer | |
| Zbynek Kunc | .... | additional photographer | |
| Zbynek Kunc | .... | focus puller | |
| Filip Majer | .... | focus puller: second unit | |
| Jan Matejka | .... | electrician | |
| Zdenek Mrkvicka | .... | second assistant camera | |
| Vlada Muller | .... | steadicam operator | |
| Martin Nahodil | .... | video playback operator | |
| Radek Skudrna | .... | additional photographer | |
| Radek Skudrna | .... | focus puller | |
| Lukas Srajer | .... | grip | |
| Martin Stepánek | .... | camera operator | |
| Martin Stepánek | .... | director of photography: second unit | |
| Dalibor Suchy | .... | electrician | |
| Petr Sulc | .... | best boy | |
| Stepan Svoboda | .... | additional photographer | |
| Stepan Svoboda | .... | assistant camera | |
| Rico Torres | .... | still photographer | |
Casting Department | |||
| Ineke de Vos | .... | casting: Netherlands | |
| Jennifer Rudolph | .... | casting: New York | |
Costume and Wardrobe Department | |||
| Jitka Novotna | .... | wardrobe supervisor | |
| Hana Rambova | .... | wardrobe assistant | |
Editorial Department | |||
| Jacquelyn Dean | .... | post-production assistant | |
| Ian Elias | .... | post-production assistant | |
| Marc Fisher | .... | on-line editor | |
| Michael T. Forrest | .... | on-line editor | |
| Charles Kaplan | .... | associate editor | |
| Stephen R. Sheridan | .... | color timer | |
| Brad E. Wilhite | .... | associate editor | |
| Lawrence Howard Williams | .... | post digital media operator | |
Music Department | |||
| Gerry Cueller | .... | music supervisor | |
| Greg Danylyshyn | .... | music supervisor | |
| Michael Farrow | .... | music scoring mixer | |
| Karen Guthery | .... | orchestrator | |
| Penka Kouneva | .... | orchestrator | |
| Brian Richards | .... | music editor | |
| Allan Wilson | .... | conductor | |
Transportation Department | |||
| Jan Strasik | .... | transportation coordinator | |
Other crew | |||
| Travis S. Baker | .... | researcher | |
| Mark Bakunas | .... | production accountant | |
| Tawnya Brown | .... | assistant: Mr. Fleiss | |
| Veronika Brtova | .... | production assistant | |
| Marketa Dankova | .... | production assistant | |
| Eva Dvorakova | .... | on-set medic | |
| Olina Edney | .... | production secretary | |
| Jakub Eliasek | .... | production assistant | |
| Flax Glor | .... | publicist | |
| Milda Jedi Havlas | .... | production assistant | |
| Charles Heaphy | .... | production financing | |
| Vlasta Hynek | .... | production coordinator | |
| Kazi Kopecka | .... | script supervisor | |
| Julie McLean | .... | assistant: Mr. Tarantino | |
| Kevin Mockrin | .... | intern | |
| Tony Muro | .... | publicist | |
| Honza Ondrovcak | .... | location manager | |
| Hynek Pantucek | .... | key loader | |
| Gabriel Roth | .... | documentarian (as Gabe Roth) | |
| Pilar Savone | .... | assistant: Mr. Tarantino | |
| David Skacelik | .... | production assistant | |
| Jan Soufek | .... | production assistant | |
| Jed Strahm | .... | assistant: Raw Nerve | |
| Richard Tanne | .... | researcher | |
| Quentin Tarantino | .... | presenter | |
| Katherin-Ellen Zabehlicky | .... | production assistant | |
Thanks | |||
| Mick Garris | .... | special thanks | |
| Peter Jackson | .... | very special thanks | |
| Harry Jay Knowles | .... | very special thanks (as Harry Knowles) | |
| Takashi Miike | .... | very special thanks | |
| Fran Walsh | .... | very special thanks | |
| Ísleifur Þórhallsson | .... | thanks (as Isleifur Thorhallsson) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
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I just got back from an L.A. screening of Hostel. I haven't seen an effective horror film like this in a long time. My stomach was still knotted up after we left the screening. The last time I felt like that was when I saw ALIENS for the first time about 19 years ago. Since then, no other horror film has ever made me feel like that. I certainly didn't expect it from this one. As much as I loved Cabin Fever, I'm not blind to the shortcomings of its script. As such,I was expecting more of the same from Hostel - dark humor, gore, and a sense of dread. I'm happy to see that director Eli Roth has taken a big step forward in becoming a better storyteller and filmmaker.
Admittedly my heart sank when the film began. The scenes introducing the main characters were blandly shot and edited. All I could think was, 'Oh no. Roth succumbed to some unseen studio pressure to make a normal-looking horror flick'. The style was typical of the what you'd see in crap like I know what you did last summer. But in very subtle ways, the blandness gets washed away and as our heroes enter the threshold of Hell, the style of the film changes as well. This, I learned during the Q&A afterwards with Roth, was intentional.
If you've read some of the other reviews posted here from people who saw it at the Toronto Film Festival, you get the general idea of the story. Contrary to what you might've heard, this is not a 90 minute film on torture. The torture scenes are brief and to the point. Roth doesn't wallow in pointless gore. And this is where I think it shows how he's improved as a filmmaker. He's more interested in scenes and ideas that move the story forward. Yes, there is plenty of gore, but it's relevant to the story and doesn't exist just for it's own sake.
One of the aspects of this film that made it so powerful was how Roth created a sense of helpless and inevitability. He provides the dark setup, throws in a sympathetic character, and begins twisting the screws and ratcheting up the suspense. This isn't a movie where you turn off your brain to enjoy it. On the contrary. The more you think about it, the more horrifying it becomes. You begin putting yourself into the character's situation and wondering what you'd do. When you realize that there is no hope for the character, no way to escape, no 'buddy' who's gonna turn up at the last minute to save the hero, and not a shred of humanity or compassion to the antagonists, real fear begins to set in.
Another great element in the script is how the 'survivor' makes moral choices that define their character. Instead of being merely reactive like the characters in Cabin Fever, the survivor makes several decisions which change the course of the story. It's a sign of well thought-out script and a filmmaker who cares about the fate of his characters.
For horror fans, this is an absolute must-see. It's so refreshing to see a horror movie that actually makes you feel uncomfortable and one in which you have no idea what's going to happen next. As for the gore, I was surprised by what they got away with. Although there were no credits at the end of the film, the cut I saw was rated R by the MPAA and according to Roth, he didn't cut anything out.