Bad Times at the El Royale

Score:  B

Directed by Drew Goddard
Starring Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth
Running time: 141 minutes
Rated R

Long Story Short:  Drew Goddard gives a try at the neo-noir, taking cues from Tarantino in setting up an interesting roster of characters in a mysterious and tension-packed environment.  The cast mostly does a great job, particularly relative newcomer and virtuoso Cynthia Erivo.  But while the first half is a great build up, it borrows a little too heavily from others and its rewards diminish as it goes on.  Worthy of a theater trip if you're in the mood, but otherwise probably a better choice on Netflix.


Sitting right on the border of California and Nevada, the El Royale hotel, its glory days long past, finds an odd handful of visitors arrive one day.  They include a drawling, upbeat salesman named Laramie (Hamm), Catholic priest Flynn (Bridges), singer Darlene (Erivo), and hippy Emily (Johnson).  Not long after settling in, each commences his or her own mission.  Forgetful Father Flynn is looking for something, but is bewitched when he hears Darlene's lovely voice.  Laramie has a job on the side to take care of, and Emily is not traveling alone.  The El Royale hotel holds its own secrets, too, and soon its unwitting guests begin to grapple not just with each other, but with the danger lurking in their very surroundings.

Bad Times at the El Royale is elevated by a diverse and creative cast, with performances both familiar and revelatory.  There is no one, true lead, so I'll start with Jeff Bridges as Father Flynn.  He is a welcome presence as always, easily nailing his role's affable, if occasionally feeble-minded air.  Of course, as with the rest of the cast, there is more to him than meets the eye, but the only other thing I'll say about him is that he has good chemistry with his odd bedfellow Darlene.  Broadway star Cynthia Erivo is the highlight of the film as Darlene, particularly her show-stopping renditions of classic hits like "You Can't Hurry Love".  But her regular acting is just as impressive, too, quietly and painfully victimized in one scene yet hanging tougher and calmer than any of her cast mates in the next.  Jon Hamm gets to show off his impressive range, particularly early in the film, and was a great choice for the role.  Dakota Johnson also does quite fine work, an alluring hippy who might have the poorest poker face, but when she gets the screen to herself, manages to portray a complex, intriguing private side.  Chris Hemsworth finds himself far from the mythical Thor, though by now his comedic talent, here as a cult leader, is no surprise.  His character is also quite cruel and manipulative, though, and Hemsworth doesn't quite land it.  Maybe he's just too nice? - at any rate, he overplays it.

Bad Times at the El Royale is an entertaining and solidly-made film, but it takes a little too much from other recent noirs and flails in the landing.  I can't help but compare the film - and even did so while watching it - to some of Quentin Tarantino's work.  The colorful characters, the specificity of the surroundings (like the frequently-playing jukebox), nonlinear narrative, spasms of violence, and even the old-school, brief chapter headings constantly reminded me of the auteur.  Problem is, it's pretty damn tough to beat Tarantino at his own game.  The script is good, but not as sharp and unique.  There are some fun and strange encounters, but nothing like Tarantino's finest, razor-sharp scenes of dialogue.  And the most exciting element of the film - guessing how all the seemingly-incongruous parts fit together, or just waiting for it - results in a bit of a letdown (IMO) by being too straightforward and/or cliche (despite this, I don't want to spoil it for you).  That might all sound harsh, but the majority of the film is still pretty fun - especially the first hour or so.  Goddard turns the tricky task of making the exposition-laden setup interesting, thanks largely to honed-in performances from the stars, but also to developing the setting of the hotel itself well.  Then, as we start to get the cover lifted from these characters, the fun really revs up, allowing the action to both get started in a hurry yet also take its time via the nonlinear, multiple perspective style.  The soundtrack is also great, featuring plenty of classic rock hits - as well as Erivo's fantastic performances.  While I was disappointed with how the film developed at around the midway point and on, the stronger early parts still stand well on their own.

***

Bad Times is overall a fun time, even if this neo-noir ends up a bit of a disappointment, too.  Perhaps those more familiar with the genre won't experience this, but I couldn't help but make those Tarantino comparisons (though when it's at its best, these fell away).  If this doesn't happen to you (or you haven't seen much Tarantino anyway), the experience may be even better.  Watch it at least for the first half - and you also may enjoy the second better than me - as well as for the cast, particularly Erivo. I would have preferred the filmmakers use this premise to take new or more interesting turns, but the result is still just fine.  Theater viewing is optional, but it could make a perfectly nice Netflix some evening.




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