Bad Times at the El Royale-2018

Director Drew Goddard

Starring Jeff Bridges, Cynthia Erivo, Dakota Johnson

Scott’s Review #919

Reviewed July 10, 2019

Grade: A-

Bad Times at the El Royale (2018), directed by Drew Goddard, known for crafting the horror film The Cabin in the Woods (2012), is a gem that crosses multiple genres with sound results.

With Bad Times, he assumes writing and production duties for the thriller and steals a page from the Quentin Tarantino playbook, most notably from The Hateful Eight (2015).

The resulting feature is clever, perverse, and mysterious. It is a fantastic, edge-of-your-seat experience and a must-see for Tarantino fans.

Set in 1969, the film focuses on seven strangers of different backgrounds who go to a seedy and remote hotel on the California/Nevada border. Each harbors its share of dark secrets, culminating during a deadly macabre showdown one dark and stormy night.

In many ways, each character seeks redemption or forgiveness for a past indiscretion or is otherwise protecting someone or something else. A large sum of money is also in play for the greedier characters to tussle over.

The seven players are as follows: Jeff Bridges plays catholic priest Donald “Dock” O’Kelly, Cynthia Erivo plays struggling soul singer Darlene Sweet, and Dakota Johnson portrays Emily Summerspring, a hippie trying to save her younger sister, Rose, who is devoted to and mesmerized by sadistic cult leader Billy Lee (Chris Hemsworth).

Finally, Jon Hamm plays Dwight Broadbeck, a vacuum salesman who may have a secret identity, and hotel clerk Miles Miller (Lewis Pullman), who runs the hotel alone.

As events roll along, the complexities of the characters grow, which is my favorite aspect of the film. There are so many twists and turns involving the characters’ backstories and motivations that surprises are in store.

Some characters have strange connections to each other, while others meet for the first time and their lives intersect in interesting ways.

The dynamic between all the actors works tremendously well, with the standouts being Bridges and Erivo, who share tremendous chemistry and are the most interesting characters, to mention get the most screen time.

Their characters forge a bond during their lengthy scenes while never wholly trusting each other. Erivo, as Darlene, gets to showcase her wonderful singing voice. The highlight is the grand hotel room sequence as she belts out “This Old Heart of Mine (Is Weak for You).”

Old and burdened with memory loss, Bridges successfully grants more sympathy to his character than he deserves.

The film loses momentum towards the end when introducing the miscast Hemsworth, who is pretty but not the most remarkable acting talent. The actor overacts, playing Billy Lee as sinister and one-dimensional rather than infusing complexities into the character, which doesn’t work.

A better casting choice (and Tarantino mainstays) would have been Leonardo DiCaprio or Brad Pitt, and either actor would have assuredly brought more depth to the role.

Comparisons must be made to The Hateful Eight and the comedy Clue (1985). Godard divides the film into chapters like the former, mostly entitled as the hotel room numbers. With each subsequent room, the events going on in that room and its inhabitants are explored.

As in both films, he brings several mysterious characters with connections together. In Clue, secret passageways that lead to various parts of a building are featured, offering layers of possibilities.

The hotel itself is styled and dressed brilliantly, nearly a character with glossy decals and shiny trimmings but with a solemn and melancholy gloominess. The establishment has seen its share of heartbreak, schemes, and even death. Clever is the division of the hotel into either the sunny and cheerful “California” section or the less posh “Nevada” section, purple and costing one dollar less.

The viewer is sucked into its web within the first sequence when a man is shown hiding money under the floorboards and then subsequently shot to death.

Despite being labeled a Tarantino rip-off, this does not bother me as I was enthralled with the characters, the details, and the vast nuances offered.

Unfortunately, the film was a box-office disappointment, suffering from a lack of awards buzz and a lofty running time. Bad Times at El Royale (2018) will entertain, intrigue, and keep one guessing until the credits roll.

Be prepared for a bloody good time!