Bad Times At The El Royale

UK Release Date. 12 October 2018
Certification. 15
Running Time. 2 hours 21 mins
Director. Drew Goddard
Cast. Jeff Bridges, Cynthia Erivo, Jon Hamm, Chris Hemsworth, Dakota Johnson, Nick Offerman, Lewis Pullman, Cailee Spaeny.
Rating. 69%

Review.

Bad Times At The El Royale is the second feature film directed by Drew Goddard, following his 2012 debut, The Cabin In The Woods and screenwriting credits on Cloverfield, World War Z and The Martian.

The eponymous El Royale is a motel, near Lake Tahoe that straddles two US States, 

"The El Royale is a bi-state establishment. You have the option to stay in either the great State of California or the great State of Nevada. Which would you prefer?" 

And whilst the El Royale may have seen better days, there undoubtedly remains a degree of jaded Rat Pack glitz.

As the film is set off-season, the audience is introduced to a handful of guests - Laramie Seymour Sullivan (Jon Hamm), Father Daniel Flynn (Jeff Bridges), Darleen Sweet (Cynthia Erivo), Emily Summerspring (Dakota Johnson) and her sister, Rose Summerspring (Cailee Spaeny).

At the heart of the story are Darleen and Father Flynn, and the interactions between Cynthia Erivo and Jeff Bridges are easily the strongest element of the storyline. In particular, Erivo warms the film with a strong, yet comforting presence. Erivo is a revelation. Perhaps better known as an award-winning stage actress [she came to prominence in the Broadway production of The Color Purple, for which she received the 2016 Tony Award for Best Actress in a Musical]. Erivo effortlessly delivers a couple of delicious acapella renditions of soul classics, The Isley Brothers' This Old Heart Of Mine (Is Weak For You), The Supremes' You Can't Hurry Love and Sam & Dave's Hold On I'm Comin'.

The production of Bad Times At The El Royale is superb, thanks to production designer Martin Whist and cinematographer Seamus McGarvey. Stark imagery and tight editing add genuine moments of shock value. And the period setting of 1969 allows for a soundtrack that becomes a key component of the emotional fabric of the film; the Wurlitzer jukebox in the hotel's main reception is essentially an eighth character.

Bad Times At The El Royale's prologue and opening hour set the mood for this Hitchcockian-inspired neo-noir. My interest was most certainly piqued, but as the film developed I couldn't help but feel that the conclusion could have been tighter and sharper. Only then would Bad Times At The El Royale have delivered the dynamite pay-off it aimed for.