Bad Times at the El Royale

It’s fair to say that Drew Goddard is a bit of a Quentin Tarantino acolyte if his latest: Bad Times at the El Royale, is anything to go by.

The story of seven strangers who arrive at the titular hotel, crossing the border line between California and Nevada, on a stormy night in 1969 has more than a whiff of The Hateful Eight to it.

Chuck in chapter cards from Inglourious Basterds, a Jackie Brown-esque ‘same-scene-from-a-different-perspective’ and even the font from Pulp Fiction and you’d be forgiven for being surprised that Tarantino’s name isn't on the credits.

Let’s talk about Goddard though and what he’s created here is a tense, tightly-paced thriller with a fine balance to every character.

It’s a cracking premise and the first 45 minutes sucks you straight in with style, panache and the genius hotel design with its 50’s vibe.

The characters are excellent and he’s put together a brilliant cast who furnish and elevate the script.

Jon Hamm chews scenery and Dakota Johnson proves she’s a lot more than Fifty Shades of Grey. Jeff Bridges brings his legendary pathos in an unbelievable performance and Cynthia Erivo, despite being the least known here, outdoes them all in portraying Darlene Sweet, arguably the hero of the piece.

The machinations of their initial conversations, and the understanding that not all of these individuals are quite what they seem, elevates the first half of the film but Goddard lets himself down with his ending.

Like the aforementioned The Hateful Eight, ending a film of this nature isn’t easy. Tarantino himself perfected the form with the iconic Reservoir Dogs and everything since that leaves a trail of blood and devastation smacks of laziness.

Unfortunately, the same applies here and it’s bizarrely as soon as Chris Hemsworth enters stage left that things take a dip.

Hemsworth himself is not the problem, playing a Charles Manson-esque cult leader in a villainous turn, but the witticisms and pacing fall off a cliff as Goddard reduces the final third of the film to unnecessary and random violence with little to no surprises, twists or reveals.

It’s a colossal disappointment after what’s come before, especially as the first few ‘chapters’ are as gloriously unpredictable and tense as that first ‘Once Upon a Time In Nazi-Occupied France’ Hans Landa scene in Inglourious Basterds. One involving Darlene and Bridge’s Father Flynn in particular standing out.

There’s also a fantastic soundtrack of 50’s and 60’s soul and R'n'B which truly adds to each scene rather than just being used for show.

It’s a great watch and certainly one of the better Tarantino homages just let down by a silly ending that smacks of someone unsure how to conclude things effectively.

As such, it only ties for ‘hotel-based film of the year’ with Hotel Artemis but is certainly worth sitting with for the style, soundtrack and performances.

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