QR Movie Review: Bad Times At The El Royale

All is not what it seems at the El Royale. A litany of characters arrive and find the sleepy hotel has a dark secret. A neon and blood-soaked mystery where nothing is what it seems, you can check out anytime you like but some never leave. Bad Times… is a cautious mix of Americana, noir, thriller and action, ripe with a compelling sense of threat and filled with surprises. A palatable uneasy tension persists from start to finish, as viewers are more often on the edge of their seats than not.

A distinct vintage aesthetic is noticeable throughout the film. From the garish colour scheme to the stark neon lights that frame many of the scenes, there is a sense of excess and falsehood. The motif of lies and the pretence some characters portray is also extensive, with strategically placed appearances of disgraced former President Richard Nixon and narratives interlaced with red herrings amplifying this feeling. Each of the main characters has a hidden goal, and it is never what you expect. Jarring jump-cuts and a measured dialogue delivery keeps the tension high.

Furthermore, juxtaposition is wielded like a weapon to exaggerate the emotional pressure of high octane scenes; be it the use of a gospel song during a supposed kidnapping, the bright reds of the neon against the wet shadows of the night, or Chris Hemsworth’s excellent performance as a cult leader antagonist in comparison to Dakota Norths frankly embarrassing attempt at playing the anti-hero. A low point in the movie comes in what should be a particularly intense interrogation scene featuring the two, but I found myself unable to care for the fate of North’s character, an unconvincingly frightening scoundrel whose heart is in the right place.

Thankfully, the remaining cast is more than convincing, with director Drew Goddard’s control of the tension having the theatre concerned for the well being of stars Cynthia Erivo and Jeff Bridges. Goddard’s use of a non-linear timeline to develop their depth and expertise in crafting viable, self-contained stories for each character was a highlight, and at its most intense I felt genuine empathy and fear for them. Early elements of corniness or predictability are expunged as the film progresses with a relentless zeal. Excessive in parts (one scene in which a character confesses to witnessing a particularly taboo sexual act is more off putting and only removes tension from the scene due to its ridiculousness) but ultimately measured and controlled. For a good time at the cinema, go see Bad Times.

4/5

By Benjamin Magee