Fine then Banjo; Eat this.
In defence of Hostel 1.
This is a movie that opens with a dick collection of American knobhead college students in Amsterdam. To get why the rest of this is important, remember that this movie is made two years after the invasion of Iraq. These loud-mouth American twats 'invade' a country they know little about other than being rich in weed and exploit the strawberry float out of it, starting fights in clubs, strawberry floating hookers, getting wasted, bottling the hostel they get locked out of for returning after curfew (so, you know, breaking internationally rules because they think they can because they're paid-up Americans) and basically representing everything that the rest of the world resents about America.
Then, everything kicks off, and the Americans realise that they fundamentally do not understand this part of the world. They understand neither the history, the culture nor the driving emotional forces of the locals and get completely destroyed by a powerful group more co-ordinated, organised and ruthlessly devoted to their cause than they could have possibly anticipated.
They are killed, mutilated and humiliated by a power they did not understand and, through a few pyrrhic victories, are eventually able to walk away with a modicum of self-respect, but nothing more. Meanwhile, the organisations they fell afoul of operate largely unimpeded, as their retaliation neither understood nor effectively engaged the true enemy.
The entire film is a detailed allegory of the war in Iraq. It's a more effective satire of America's painfully impotent efforts in the middle east than any Oscar-grabbing mastabatory soul-searcher.
That's hardly incisive, I thought most people came to that conclusion. Primarily, I was mocking you for potentially defending the sequel, which is hilarious in its bluntness while simultaneously making a fool of itself. Actually, the original is very similar, at least for the first hour, as I've never stayed interested long enough to finish watching it.
Directed by Takeshi Koike.
I'm comfortable enough in my own sexuality to take a dick.