Directed by:
Drew GoddardScreenplay:
Drew GoddardCinematography:
Seamus McGarveyComposer:
Michael GiacchinoCast:
Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth, Cailee Spaeny, Lewis Pullman, Nick Offerman, Xavier Dolan, Shea Whigham, Mark O'Brien (more)VOD (3)
Plots(1)
Seven strangers, each with a secret to bury, meet at Lake Tahoe's El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption... before everything goes to hell. (San Sebastian International Film Festival)
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Reviews (14)
This is more functional and entertaining than any of Tarantino's films since Jackie Brown. Tarantino-esque films, where violence and corpses are not spared, have long worked better for me in the films of other creators. It's solidly cast, and while veteran Jeff Bridges caught my attention the most, no one drags the film down. It has an inventive screenplay, which I would only criticize for being a clever play that relies on the screenwriter's imagination. I prefer films that are capable of creating the impression of something real, where the factor of chance triggers a shocking sequence of events. Here, the meeting of people with a dirty past in one hotel complex represents madness, but it has order and, to some extent, makes sense. Overall impression: 75%.
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A strange mosaic of human destinies that meet in a hotel on the border between California and Nevada. It’s a bit like Goddard wanted to make a Tarantino movie, but he lacks the light hand and sense of humor. But still this is a decent and mainly clever, original watch; you don’t often see this sort of thing these days.
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The beginning stumped me, when it is not clear who is on which side of the barricade and what brought them to the hotel, as did the unexpected reveal of the multiple red herring storylines of the individual characters, which intentionally bring no surprises. However, the last act does not fit in at all with the previous events and for something long awaited brings a damn shortage of entertainment. Not to mention that, considering all the tough talk from before, it pulls its punches several times, even shamefully. It's a pity, especially because the setting and the cast are spot on.
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I’m not saying I’m jumping in joy, but this retro stuff hit the spot of my mood and my tastes. If I had the skills to write and direct in Hollywood, stories with unpredictable characters and set in a small, often symbolic places like this would probably be the kind I’d be interested in the most; also thanks to the soundtrack, with which in this case Goddard checks all the boxes to build a period backdrop that is impossible not to love. It’s true that the script relies mostly on effect, that it lays down the cards too early and that you won’t find many memorable lines, but it’s still an adorably extravagant piece of filmmaking that, thanks to well timed explanatory flashbacks, has no trouble holding the attention of the viewer and keeping the tension about which of the interestingly written characters will come out with their head still on its place. The hotel itself is great, the actors are precise and it’s amazing how Goddard manages to defame the morals of America with only a handful of characters, a mysterious place and an even more mysterious filmstrip (though it’s not too hard to figure out which overseas idol committed the atrocities captured in it). It could certainly be more genre subversive and the escalation in the first half could be better, but I’m satisfied regardless. 75%
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Several people arrive at a small hotel in the middle of nowhere. They have nothing in common at first glance, but in a few hours most of them will be dead, and the rest will be really upset. Drew Goddard directs a smart film in the style of Tarantino with interesting characters, good actors and fun direction. It does run out of breath a bit towards the end, but overall it manages to entertain quite nicely thanks to the ideas, the characters and a few rough twists. It probably won't be a genre classic like The Cabin in the Woods, though.
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