Drew Goddard | 142 mins | streaming (HD) | 2.39:1 | USA / English | 15 / R
If you thought Tarantino copycats died out after the mid-’90s boom in Reservoir Dogs / Pulp Fiction wannabes, well, you’re sweetly naive — those still crop up from time to time, a quarter of a century too late. But the better emulators have evolved along with their inspiration, as writer-director Drew Goddard demonstrates in Bad Times at the El Royale, a film which feels like an imitation of latter-day Tarantino flicks. At least Goddard has the good sense to dodge the carbon-copy style of those Reservoir Dogs mimics by shifting genre, taking some of what QT brought to war movies in Inglourious Basterds and Westerns in The Hateful Eight and applying it to a neo-noir mystery-thriller. He even preempts Tarantino’s own oeuvre by including a Charles Manson-esque cult leader, thereby prefiguring Manson’s role in QT’s own Once Upon a Time in Hollywood.
Also like Once Upon a Time, El Royale sets its scene in 1969; and, like The Hateful Eight, its setting is an isolated establishment. That’s the eponymous hotel, a destination straddling the California/Nevada state line, which in its heyday attracted celebrities and what we’d now call “influencers”, but has faded since it lost its gambling licence and the wealthy patrons dried up. Now, over the course of one day and night, a variety of customers arrive, strangers, each with secrets, all of which will out in the twists of fate that ensue. All of that plays out in chaptered sections, divided with title cards, that mix in flashbacks and juggle the timeline of the present section as necessary — all of which are familiar Tarantino flourishes, of course.
One thing it shouldn’t’ve copied from Tarantino is the running time: just like many of his recent works, it’s longer than it needs to be. That’s not because the material is bad per se, but because the pacing isn’t tight enough. It seemed to drag its heels for no reason (again, I felt the Tarantino comparison), whereas a tighter pace might’ve contributed some tension, which I rarely felt despite the scenario screaming out for it.
Well, as the saying goes: if you’re going to steal, steal from the best. Heck, Tarantino has certainly borrowed plenty from his own wide-ranging influences. If you are going to imitate another filmmaker, this is the way to do it: by bringing your own characters and settings and plots and twists to the table. That might sound obvious, but so many of those wannabes are slavish in their borderline-plagiarism. Goddard doesn’t sink to that level overall, though there were some parts I felt were only a couple of steps above it. For example, the whole “the hotel is on the state line” bit seemed quirky for the sake of being quirky, imitating a bit that a filmmaker like Tarantino would use but without quite knowing how to use it (it plays a big role in the opening sequence, after which there’s one slight gag with it before it’s never mentioned again).
But such lapses were outweighed by the good. For one, there’s some very nice photography by Seamus McGarvey. It looks like it was shot on 35mm (I checked and it was, which proves Nolan & co are right when they say it does make a difference), which didn’t always translate too well to the 1080p stream I watched, but I suspect might look all the more stunning in 4K. Visual aside, much of what’s good stems from the characters, especially the strong performances by actors like Cynthia Erivo, Jeff Bridges, and Lewis Pullman. It was those, and in particular how each role comes together in the final act to define the whole character, that definitely elevated the quality of the film for me. And while those three are the highlights, there are also good turns from the likes of Jon Hamm, Dakota Johnson, Chris Hemsworth, and Cailee Spaeny. I’d say more, but so much of the meat of these characters comes from how they present themselves vs what the truth is revealed to be — the less you know, the more there is to uncover.
That said, I wonder if this is a film that will play better on a rewatch. There are several surprise plot developments I wouldn’t wish to spoil for a first-time viewer, for sure, and I do feel like that’s a worthy filmmaking tool (I don’t agree with that research that ‘proved’ audiences enjoy something more if they know the story beforehand — you don’t appreciate it more, you just appreciate different stuff, same as with a rewatch). But I feel like some of that plotting did distract focus from other bits of the film that were working well. Put another way, in my memory the niggles have damped down and I primarily recall the good stuff, so my enjoyment has gone up with hindsight. I’ll have to pick up the 4K disc at some point and give it another go.
For the time being, while I did like it overall, I judged it to be the kind of 4-star effort that could’ve easily become a 5-star top-ten-of-the-year film if it had just polished up everything that I felt didn’t work.
Bad Times at the El Royale is available on Sky Cinema from today.