Some movies are destined to be cult classics the moment of their conception. They’re so offbeat and a tad off the wall that mainstream audiences may not know how to take it in but film aficionados will get a kick out of the unconventional nature of their stories.
Despite trailers that try to sell it as something that may appeal to the casual moviegoer, Bad Times at the El Royale will be more at home when it’s discovered gradually once it has exited theaters and has found a new life on home video. The film is an artistic joy, heavily influenced by the likes of Quentin Tarantino and it has a wide array of interesting characters and situations that stray a bit from the norm. There is maybe one “normal” character in the film and she’s certainly the most relatable but for the most part, many of the people making their stay at the El Royale are a bit left of center. You may not be able to connect with them but they’re certainly fun and gives the performers portraying them an opportunity they haven’t gotten before. Bad Times at the El Royale manages to sustain entertainment based on this for much of its running length but eventually, the film runs a bit too long and its ending feels too clean when compared to what has come before it. Despite some pacing issues as it reaches its climax and an ending that doesn’t quite deliver, the film is still a fun experience and a solid showcase for Drew Goddard as a director and writer.
The movie’s timeline is a little uncertain but clues point to the early 1970s. The titular hotel, which is built on the border between Nevada and California (so that you have a choice of staying either “in Nevada” or “in California” although the latter costs $1 more per night), is modeled after the real-life Cal Neva Resort & Casino, which was owned by Frank Sinatra during the 1960s. The once-popular El Royale has fallen on hard times since the revocation of its gambling license, so the arrival of four customers in one evening must seem like a bonanza to Miles Miller (Lewis Pullman), the only employee on-site. The four guests are a diverse group. There’s Father Daniel Flynn (Jeff Bridges), who we immediately suspect might not really be a man of the cloth. Darlene Sweet (Cynthia Erivo) needs a cheap place to stay while working as a lounge singer in Reno. Laramie Seymour Sullivan (Jon Hamm) is a vacuum cleaner salesman – or at least that’s what he appears to be and an unfriendly Emily Summerspring (Dakota Johnson) who’s up to no good with a tied-up and seemingly kidnapped girl (Cailee Spaeny) in tow.
The true joy of the film is Drew Goddard’s dark and tongue-in-cheek screenplay. Goddard has a knack for wicked dialogue and his cast handles his material very well. The film is grounded in reality but one that is a bit off the cusp of it. Goddard gets a lot of mileage from his darkly funny approach that, even when things erupt in violence, we’re still in a state of uncomfortable laughter. There are some curveballs that he throws at the audience fairly early on that suggests everything isn’t as it seems and that some of these characters definitely have more layers than initially meets the eye.
The uncertain time period works in Goddard’s favor. We feel we’re in the 1970s yet there is something very modern and fresh in the way he attacks the material. Darlene Sweet feels very of that period with her speech and style yet Emily Summerspring suggests an era more in line with today’s standards. The way the film toes the line between where it actually exists is what keeps it consistently engaging. Not only are the characters interesting but so is the world they inhabit and how they explore it adds a bit to the mystery about their backstories.
The cast has a something-for-everyone feel and includes performers who are playing wonderfully against type. Chris Hemsworth is the real MVP here and the less said about the specifics of his performance the better. Just know he comes in late in the proceedings but lets his presence be known in a big way. This is by far the best performance I’ve seen from him and it gave me more respect for him as an actor. Also showing more sex appeal and screen presence than she ever did baring all in Fifty Shades of Grey is Dakota Johnson, who owns the screen with attitude to spare. Of the lesser-known players, the standout is Tony winner Cynthia Erivo, whose voice (belting out ‘60s songs like “Hold On, I’m Comin’” and “You Can’t Hurry Love”) is the defining trait of her character. She’s the most grounded character in the film and definitely the one who is a bit more realistic when compared to her offbeat counterparts. She keeps you invested and it’s purely based on how natural and likable she is. Throw in the always reliable Jon Hamm and Jeff Bridges, plus Lewis Pullman (son of Bill Pullman) showing he’s more than a famous last name, you have a cast that certainly ignites the screen.
The real culprit of Bad Times at the El Royale is its runtime. At 2 hours and 20 minutes, the film is way too long and even its artistic showiness begins to not be enough to warrant its length. A lot of the issues with the length is primarily the last 15-20 minutes. For a film that has cleverly been set up to be a bit different and dark, it becomes a tad too routine. The film revels in brutality during its final moments and a lot of that seems to cover up the fact that the ending really doesn’t truly stick to the tone that was set up in the beginning. It’s a shame because the ending prevents a good film from becoming a great one.
Despite a finale misstep, Bad Times at the El Royale is still a fun ride and a film that is worthy of your attention. How you respond to the ending could be very subjective (I had issues with it while the buddy I saw it with didn’t mind it). What is certain is that the film’s clever script, strong visual direction and stellar off the wall performances, is destined to make this a film that will have a new life once the right people discover it. Sometimes cult status is more poignant than true box office success.
