Bad Times at the El Royale – Review

Bad Times at the El Royale film reviewDirected by: Drew Goddard

Runtime: 140 minutes

Bad Times at the El Royale acts as a selection box of some of my favourite film tropes. With a hyper-stylisation, Hitchcockian thriller elements, a talented cast and a focus on ’60s vibes, it would be difficult for me not to like a film such as this. As soon as the establishing shot flicked onto the screen, I was hooked—an experience that did not relent through the entirety of its runtime. Every aspect of this film seemed keyed into my personal tastes, making this a hard one to review. This film seemed as if it was made for the lover of film; it presents a slick Pulp Fiction-style character thriller with an incredible soundtrack and impeccable cinematography, something all first-year film students could only dream about. For me, it worked, and I found myself enjoying every minute of it.

Seven strangers converge on a dilapidated motel situated on the border between California and Nevada. It is a dark and stormy night; however, the sounds of the uproarious thunder are not enough to hide each stranger’s secrets. Bad Times at the El Royale borrows from all neo-noir thrillers that have come before it, but it does seem to bring something fresh to the table. I couldn’t say the plot itself was particularly impeccable. Instead, the plot served as a vehicle for some incredible sequences and character moments—something that would be a risky move without such a talented cast. Jon Hamm, Jeff Bridges, and Chris Hemsworth all provide us with (perhaps unsurprisingly) solid performances, and their combined charisma is enough to make the film at least passable. However, the stand-outs in this film did come in the form of big-name stars, but in Broadway actress Cynthia Erivo (playing soul singer Darlene Sweet) and the remarkable Lewis Pullman as the troubled yet naive hotel staff member, Miles.

Another stand-out of the film is its cinematography. So many shots stayed in my mind after viewing them, and I found myself continuously impressed by the interesting ideas explored by the film’s aesthetic. Every shot was purposeful; every frame was positioned in interesting ways, and the colouration of the hotel gave the story some much-needed vibrancy. It could be easy to paint Goddard’s latest as a Tarantino knock-off. However, I have seen enough bad Tarantino-influenced films to applaud those who can pull it off. I never felt as if I was watching a complete rip-off. Instead, I found a film rich in homage and pastiche that wasn’t afraid to take risks in the way it told its tale.

I would highly recommend Bad Times at the El Royale for anyone who, like me, is a sucker for Tarantino or the Coens. Drew Goddard does for the neo-noir thriller here what he did for horror films in his previous endeavour Cabin in the Woods. Sure, the film is not completely original, but instead of feeling like a lazily constructed carbon copy, it felt like a love letter to all the great directors that have come before it. For those who can handle homage, it is worth checking into the El Royale—it is difficult not to have a good time among the dysfunctional guests.

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