Bad Times at the El Royale is easily one of my favorite films of 2018. Drew Goddard once again delivers a masterfully crafted film that kept me engaged through the full two hours and twenty minutes. I’ve heard critics compare this film to Pulp Fiction and other films by Quentin Tarantino, mostly due to the way Goddard uses time as a mechanism in which to expand one scene on the scene that preceded it. While this film certainly resembles some of Tarantino’s sensibilities, I feel like it differs in the way the scenes are written and shot.
Starting with the cast, this film packs a powerhouse lineup of star actors and actresses who all bring their “A” game. The usual suspects are all fantastic in their respective roles. Jeff Bridges serves as the on again/off again moral center of the film. Jon Hamm effectively subverts his character’s campy introduction when his actions end up serving as the catalyst for the plot to move forward. Dakota Johnson was impressive as well, finally able to flex her acting chops in a film not in the 50 Shades franchise. The real star of the film, however, is Cynthia Erivo. I was unfamiliar with her accomplished tenure on Broadway prior to this film, but her acting ability as well as her singing was really impressive. Her character is as close to a protagonist as this film has, and once the events of the film resolve, she is the sole character who remains a truly “good” person. I cannot wait to see her in Widows later this year. It would also be remiss of me to not mention Chris Hemsworth’s Billy Lee character. When he is on screen, he commands the audience’s attention. This is the first time I’ve seen him as a villain, and he delivers a chilling performance which echoes shades of Charles Manson.
As eluded to earlier, this film plays with time in an incredibly interesting way. The best way to describe it is with the old cliché “one step forward; two steps back.” You watch one scene, then the next starts from a different vantage point only slightly before the last one ended chronologically. This happens during the rising action in the first part of the second act. For myself personally, this mechanic works well because it adds layers to each scene, in addition to creating tension by disseminating information in a calculated fashion. Goddard excels in both his writing and direction by meticulously crafting each scene so that every sequence serves to drive the plot forward.
Where this film falls short is with several of its plot holes. I left the film with several unresolved questions. Who actually owned the hotel? What was the true purpose for the voyeurism? What was Jon Hamm’s character assigned to accomplish at the hotel? While the movie did not feel like its long runtime, I still feel like there were portions that could have been pared down slightly to make the film a bit leaner. The flashback sequence during the climax for Lewis Pullman’s character Miles also seemed out of place. Given the heightened action of the scene, it just felt jolting to be pulled out of the climax only to offer more exposition.
All in all, this film was incredibly entertaining, and I’m glad I saw it on opening night in a crowded theater. I think this film will be even more enjoyable to watch upon second viewing knowing how things progress throughout the film and being able to track different themes and motifs. This film involves a lot of subject matter from the 1960’s including voyeurism, paranoia, hippie culture, and cults, not to mention the wonderful soundtrack. If you are the type of person who does not enjoy tense films or having to piece information together over the course of a movie, then this probably isn’t the film for you… and that’s okay. I, however, loved this film and would highly recommend everyone see it at least once to enjoy the ride.
Final Grade: 8.5/10
Image retrieved on 10/13/18 from: https://m.media-amazon.com/images/M/MV5BOTk1Nzk1MDc1MF5BMl5BanBnXkFtZTgwNjU2NDExNjM@._V1_.jpg
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