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But Hauer even approaches them with genuine anger and passion, never tipping and never playing for laughs. There are many over the top characters in the film, the Drakes who run the town never say a single line in anything less that a shout, and then there is The Plague, a pair of post-apocalyptic armored enforcers. A film this over the top would normally not have much to offer emotionally, but there are some moments of genuine warmth between the Hobo and the prostitute he rescues from certain death, and Hauer never overplays his hand. The film's crazy over the top violence combined with Rutger Hauer's ability to imbue his character with genuine soul makes for a potent mixture. The digital footage is also color-graded to a ridiculously over-saturated pitch, which helps lend a feeling of extremity not only to the action on screen, but to the environment itself.
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His eye for dramatic lighting is also pretty astounding, as just about every sequence is drenched in crazy blue and red lighting, much in the vein of Inferno-era Argento. DP Karim Hussain had access to several digital movie and still cameras and he used them amazingly well. One area in which Hobo outshines most of those older films is that it looks absolutely outrageously good. Eisener captured the spirit and energy of those old films perfectly, outdoing them at times. Shout-Mumbling, "LONG LIVE THE NEW FETISH!" Shotgun is gloriously goofy gratification - it is still worth Of the subtext present in the Tax-Shelter Cronenberg, Hobo with a While the film is no Rabid or Shivers - there is simply none Success, but shall garner a healthy reputation for the crazy cult curio Safe to say that the film goes way too far to allow for any popular
![hobo with a shotgun game hobo with a shotgun game](https://ilarge.lisimg.com/image/1833439/1118full-hobo-with-a-shotgun-screenshot.jpg)
Plague) and its eventual passion-play with the Hobo as Christ, it is With the film continually upping its phantasmagoric stakes (enter: The Kurt also liked the film and said this here: Not stopping until everyone who can be dead is. Harder, ever faster, into a non-stop game of one-upmanship with things Or moment so extreme that it cannot be topped. Todd had this to offer in his review for Showcase.ca:Ī blazing carnival ride of non-stop blood and gore, it's as though Hobo With A ShotgunĮxists only to prove to itself and its audience that there is no image This isn't a Black Dynamite styled spoof, though I love that film, and it isn't an homage film like Planet Terror, with fake-battered film stock. They've taken the sensibility of 80's exploitation films, stuff like Street Trash, and simply made another film that could fit easily into that canon. Hobo with a Shotgun is a exploitation film that could have been made in the early 80's, but at no point in the film are they laughing at that period, or making jokes at its expense. That was Eisener's way and reminding himself and his crew that they weren't making a spoof film, they were making something that was for real. That was Jason Eisener and company's mantra all through the making of Hobo with a Shotgun, he even had hoodies made up. With that gun in his hand and two shells in its chamber. Quickly, he realizes the only way to make a difference in this town is Rage around him, he notices a shotgun hanging above the lawn mower. He dreams of making the city a beautiful placeĪnd starting a new life for himself. The chaos, the Hobo comes across a pawn shop window displaying a
![hobo with a shotgun game hobo with a shotgun game](https://cdn.drawception.com/images/panels/2018/3-9/am3hfYkfRY-2.png)
Supreme alongside his sadistic murderous sons, Slick & Ivan. This is a world whereĬriminals rule the streets and Drake, the city's crime boss, reigns He finds himself trapped in an urban hell. A Hobo jumpsįrom a freight car, hoping for a fresh start in a new city. A train pulls into the station - it's the end of the line.