When I saw the first trailer for Bad Times at the El Royale (2018), I knew I was going to see it. It looked stylish, fun and clever.
Well, some things got ahead of me, and I had to wait longer than I'd like, but I finally made it to the cinemas to see the darn thing.
I. The Man's Got Style... Even if it Was Quentin Tarantino's to Begin With
Goddard absolutely knows how to craft a good movie. His shot comp is wonderful. He lets Seamus McGarvey's (cinematographer) camera lovingly frame the actors and action, leading the viewer's eye with clever purpose. He even has a penchant for "oners" (longer length single-take shots: pronounced like the number "one," with an "er" at the end) where the camera swings, swivels, and tracks in and around the action. There is also a keen sense of depth, establishing figures in the fore, middle and backgrounds to make more dynamic shots.
Then there are the needle drops. Goddard has an electric soundtrack of golden oldies that really sets the mood for the piece. And he lets his star, newcomer (to my eyes, at least) Cynthia Erivo, cut loose and sing quite a few tunes herself. Like Tarantino before him, Goddard keeps the soundtrack lively and dynamic. Even if he goes to that well a mite too often.
The script features some nice, sharp dialogue, especially when spoken by Southern vacuum salesman, Laramie Seymour Sullivan (Jon Hamm). Goddard's writing has its own nuanced flair, and I like it.
The El Royale itself is a thing of retro beauty. The kitschy hotel straddling the border between Nevada and California looks like a real place that I'd love to go stay at. As long as I didn't get killed by a hippie cult, or get spied on by the FBI. The hotel is divided right down the middle by a bold red line, and each state has its own look and feel: Nevada is all cool blues and purples, while California's aesthetic is warm oranges and yellows. The art department on this film absolutely earned every cent of their pay. The details are lovingly realized: a mini automat on the California side dispenses pie and sandwiches of dubious origin; the jukebox is centerstage in the lobby, chockfull of excellent tunes; the lounge is suitably groovy.
So, comparisons to the work of one Quentin Tarantino are inevitable. There is snappy dialogue, kitschy locations, and a soundtrack laden with hidden pop gems that wriggle into your ear and stay there. Goddard even separates the film into character-focused segments that build toward the climax, but layering in story elements piecemeal. Ultimately, I think Tarantino does it all better, but Goddard has served up a reasonable facsimile, and his movie fares better in comparison to the legion of failed Tarantino clones that emerged after Pulp Fiction (1994).
II. Excellent Cast... With An Exception
Everyone here is doing their job. They know the movie that they are in, and do their best to serve Goddard's script. Jeff Bridges, as Father Flynn (or IS HE?) is dependably solid: he has a number of longer monologues and scenes that he sells with aplomb. He plays a man in the beginning stages of Dementia believably, and heartbreakingly.
Cynthia Erivo's down-on-her-luck singer, Darlene, is a revelation. The girl can act, and she has a fine set of pipes. Darlene is weary, and tired of bullshit. And there is a moment where she lays that all out on the table in a real hum-dinger of a monologue. "I'm tired of men, like you," she says, and you can feel the weight lifting off of her shoulders as she finally stands up for herself. Or sits back for herself, because she refuses to stand to attention for bad men any longer.
Jon Hamm is handsome. And talented. And does the lord's work as Laramie Seymour Sullivan. Even if the film doesn't really have much better to offer him than a fun introduction to the hotel itself.
Chris Hemsworth is reliably charismatic as the hippie cult leader, Billy Lee. But I found his Big Bad to neither be big enough, or bad enough for my tastes. The script simply does not have enough time to really establish Lee as a Big Bad, waiting in the shadows. I didn't fully understand what his cult was, exactly. I know that Goddard was intent on us being scared of him, and Hemsworth does savor a few sublime moments, but, overall, I just didn't really buy it.
But you know what I don't understand? Dakota Johnson. I don't understand her. I don't understand why she is being cast in films. I find her flat, and uninteresting. I don't hate her (not like that bastard, Ansel Elgort), but I don't find her compelling.
III. The Spring Isn't Wound Tight Enough
What I mean by that is that the plot doesn't really come together. It lacks focus, and the whole thing feels a bit "coincidental." I want there to be a reason everyone is here. I want there to be an explanation for why this hotel is essentially an FBI spyhouse. I want to know WHO ELSE has listening devices installed (a mystery that is never answered).
Everyone, here, is doing their own thing, and Goddard tries to make their stories twine together, but something is just missing. Between the dangling loose plot threads, and set-ups with no pay off, I was left wanting something just a little bit more clever than I got. Especially from the guy who sent up the entire horror genre so masterfully. Where's the big twist, here? There isn't one. Unless you count the third act deus ex machina bell hop Rambo reveal. But I don't.
IV. It's Just Too Damn Long
It's just too damn long. At 140 minutes, the film sags under the weight of its own style. Goddard stuffs the thing full of beautiful shots, wonderful needle drops, and dreadful atmosphere, all at the expense of the actual story. This movie COULD be 140 minutes, if it wove a more complicated web. But it doesn't and it doesn't need to be this long.
V. Should You See It?
Hmm. Good question. I do not believe this film offers anything new to the genre, per se. But it is, without a doubt, a well-crafted film. It is solid, even if it bears some warts. I wouldn't consider it a must-watch unless you are a Goddard devotee, and, even then, maybe catch a matinee to save a few bucks.Miscellany
- The El Royale is inspired by the Cal Neva Resort and Casino, which actually straddled the border between California and Nevada (thus, "Cal" and "Neva," unimaginatively). The resort was owned by Frank Sinatra.- Hemsworth lost 25 pounds after The Avengers: Infinity War (2018) for this role. He previously collaborated with Goddard in Cabin in the Woods.
- Originally, Russel Crowe was cast as Sullivan, but dropped out and the part was given to Jon Hamm.
- Beyonce was, reportedly, courted to play Darlene.
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