A vigilante homeless man pulls into a new city and finds himself trapped in urban chaos, a city where crime rules and where the city's crime boss reigns. Seeing an urban landscape filled with armed robbers, corrupt cops, abused prostitutes and even a pedophile Santa, the Hobo goes about bringing justice to the city the best way he knows how - with a 20-gauge shotgun. Mayhem ensues when he tries to make things better for the future generation. Street justice will indeed prevail.Written by
When the Hobo is at the apartment getting beaten up, he gets his back stomped on with skate blades that cut his clothes and back up. In the following scenes, he is wearing the same clothes but the shirt is no longer cut, nor are there any injuries to his back. See more »
Hobo With a Shotgun (2011), gore/retro/post/apocalyptic fantasy film, is another of those endearing films in which after generous doses of violence of the most extreme nature, we learn in the most didactic and realistic way possible, the importance of values indispensable to coexist in society, such as justice, sacrifice, friendship, and perhaps love; without which the social pyramid would become a desolate desert of ignorance, depravity and abuses of the strong over the weak.
The story itself, unfolds in the manner of a Nordic saga, set no longer in the woods and the sea, but in the dirty and miserable streets inhabited by homeless people without dignity, drug addicts armed with knives, and girls and hungry children without dreams nor hopes, who sell their body or their pain for a coin, where the only thing that seems abundant is gushing blood for pure pleasure and drugs. A landscape of pathos, which the vagabond, personified by Rutger Hauer (What led this actor to that infernal city? Was he always a hobo or fell under these conditions due to some unforeseen misfortune, the fall of Wall Street, the Second American Civil War, bad friends, drink, gambling, stealing, betrayal, deception, or even a personal rebellion against the consumer society?), decides to take it in their hands and clean it, entering into action as a Patriarch of the early times, whose only law is the rumble of his shotgun, thus giving up his own absurd hopes (to end his days as a gentle gardener in the suburbs). Thus giving also a sense, finally, to his life of failure and humiliation, through sacrifice and through contempt and deep hatred for the subhumans that suddenly surround him. Like Dante, he too will descend to the real hell wells, in the company of his own Beatrice, whom he discovers in the wilted eyes of a girl tired of existence, in an epic journey towards a bloodthirsty and almost supernatural climax.
When everything ends, when the cliché is left behind, it is only up to the viewer to ask if we are to believe in evil, in the same way as in good. And the good may then be, always according to this film, a shotgun ready to pierce a human waste, in the hands of someone who has nothing left to lose: the skin of an old dispossessed, very angry and furious with the world.
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