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A Missed Opportunity: 'Bad Times at the El Royale'

More like 'Bad Times: Watching that El Royale Film,' amirite?

By Marina Caitlin WattsPublished 5 years ago 5 min read
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Courtesy of 20th Century Fox

WARNING: Spoilers ahead. But you probably won't want to pay to see this movie so keep reading.

Director Drew Goddard's latest film Bad Times at the El Royale is a period thriller/drama/comedy/action film packed with twists, turns, timecards and an extensive penultimate scene. Two hours and twenty minutes long, EL ROYALE weaves together the story of 7 inhabitants of the titular lodge.

A weak spinoff of Tarantino's The Hateful Eight, Bad Times at the El Royaletells a similar tale of strangers that meet at an inn on a stormy night. They each have dark secrets and ulterior motives for staying in the lodge, and there's a lot of blood and killing. However, there's little satisfaction to be had by the time the credits hit.

The nesting doll story telling technique is compelling and tries to piece everything together. There are scenes within scenes from different perspectives that further comprehension of what exactly is going on.

However, the puzzle just doesn't feel like it fits. Even with all the time it takes to build up everyone's story, I left the theater wanting more.

Don't even get me started on the opening scene's plothole that remains unanswered.

Courtesy of 20th Century Fox

It's a beauitful sunny day in California. Or slightly cloudy in Nevada. Depending on where you stand on the state line of the El Royale motel, that is. The motel sits on the state lines of California and Nevada, and guests must abide by the rules of the states upon checkin. The state line runs through the parking lot into the lobby, and the distinctions are quite clear. The Nevada side boasts gamblingwith slot machines. Meanwhile, in California, guests are able to enjoy liquor without penalty.

Enter a priest (Jeff Bridges), a backup singer (Cynthia Erivo), a fringe-donning hippie (Dakota Johnson) and a vacuum salesman (Jon Hamm). They check in with a doe-eyed jack-of-all-trades (Lewis Pullman) and proceed to their rooms.

Ominously, a dark and stormy night rolls through, dark secrets are revealed, and chaos ensues. The prestige that the motel represents gets lost in the film, as layers are added on from voyeurism to the FBI and hippie cults. However, a slog is the result of this overwhelming cinematic combination.

Courtesy of 20th Century Fox

The ensemble cast is an interesting combination. It holds a lot of potential as it mixes in older faces (Bridges, Hamm) while introducing newer ones (Eviro) and giving each character their own fascinating background. No character is interesting to watch if they don't have n obsession, and each of them have just that.

There is also an appearance made by a shirtless Chris Hemsworth, whose character is reminiscent of cult leader Charles Manson. Although it's a great addition, the juxtaposition of what is happening at the El Royale to a cult isn't fluid.

Though director Drew Goddard has quite a history of writing, producing and directing (The Martian, the Cabin in the Woods, Lost, Buddy the Vampire Slayer and Daredevil), this film was a mindfuck without the satisfaction of a clean and timely finish. The final crescendo of the plot made me say "thank GOD this movie is over and the credits are here."

I was so restless throughout the second half that not even Chris Hemsworth's lack of button knowledge could make me endure what was remaining.

Courtesy of 20th Century Fox

One thing I appreciate is the return of Jon Hamm to a 1960s America. As a total Mad Men junkie I was thrilled to see the Hamm back in a suit, and even more excited when he takes on the mysterious persona. However, his existence in the film barely lasts beyond the first half hour, and he becomes yet another McGuffin, almost forgotten by the time the credits roll.

The soundtrack is also a solid assemblage of period music, and incredibly important to the plot. It sets the tone. The film opens with "26 Miles (Santa Catalina)" by the Four Preps. It manages to lace in Deep Purple's "Hush" along with Frankie Valli's "Can't Take My Eyes Off Of You." Even the Four Tops "Bernadette" is mixed in, which is underrated. Any music nerd will at least appreciate this combination and look for the Spotify playlist upon leaving the theater like I did.

Goddard says, "The late ‘60s were very much a time of transition for the country. You had the optimism of the early ‘60s washed away with assassination after assassination, and then the darkness came creeping over the country. 1969 was where you really felt the beginning of that transition starting to take hold.” So thank you for that.

Another redeeming quality of El Royale? The cinematography. The shots that go through the lobbies are important in emphasizing the state lines and the duality of the location. It encapsulates the disorderly conduct of the cast.

One camera move I truly appreciated was one involving the one-way mirrors. I won't say too much, but the camera manages to circle a hotel room and face a mirror without reflecting into the shot. Absolutely brilliant.

Courtesy of 20th Century Fox

What is most disappointing about El Royale is the missed opportunity the writers and director had to make it revolve around the legendary Cal-Nevada Resort and Casino once owned by Frank Sinatra.

The mentions of Hoover, the fleeting Nixon news clip (which originally aired on January 27, 1969), and the Manson-like Hemsworth clearly stamps this film to happen in the time of Sinatra and his mob dealings in the 60s and 70s. Celebrities were able to escape to his lodge and ensue in debauchery away from the eyes of the press and the public.

The Cal-Nevada is rumored to be the place Marilyn Monroe died.

The film reel mentioned throughout the film was a reference to RFK as a well-respected senator who canoodled the year prior (1968, which lines up since he was assassinated in 1968 as well).

There was definitely a story that could have been told about Hollywood scandal. The hype over Hamm's character calling the FBI and intensely wiretapping the motel had me on the edge of my seat, waiting for more. However, I was sorely disappointed as the film progressed, as a sloppy romp through late 60s culture circled the hotel guests.

The potential peaked too soon. The film started so strong and pulled me in with the motley crew of guests checking in. However, all good things must come to an end (in this case, way too GD early).

Bad Times at the El Royale had endless potential to be a great film lacing in historical facts, conspiracy theories, and more of Chris Hemsworth's abs. But alas, the missed opportunity this film was will leave moviegoers shaking their head, and wondering what exactly was going on.

Fellow moviegoers, do not be discouraged. Oscar season is still premature, and there will be plenty more to see in the next few months. Just don't bother having a bad time at the El Royale.

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About the Creator

Marina Caitlin Watts

Marina loves Frank Sinatra and hates decaf coffee. The native New Yorker and Cornell grad knows every word to "Ferris Bueller's Day Off" and thinks Shakespeare is cool. If you need her, she's waiting for Godot. Twitter: @marina_caitlin

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