{"id":1903,"date":"2018-10-17T14:13:57","date_gmt":"2018-10-17T12:13:57","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-bad-times-at-the-el-royale\/"},"modified":"2025-06-16T19:19:07","modified_gmt":"2025-06-16T17:19:07","slug":"review-bad-times-at-the-el-royale","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-bad-times-at-the-el-royale\/","title":{"rendered":"Review: Bad Times at the El Royale"},"content":{"rendered":"

Bad Times at the El Royale<\/strong> has been reviewed as a fantastic UHD 4K edition<\/a>.<\/em><\/p>\n

The Cabin in the Woods<\/a> (2012) innovatively subverted the well-worn horror trope of young people encountering a terrifying experience in an isolated cabin. Its cleverness and originality set a high bar. Consequently, Bad Times at the El Royale<\/strong> arrived with considerable anticipation. Could it replicate that success?<\/p>\n

The California-Nevada state line bisects the now-decrepit El Royale hotel, maintained solely by the eccentric Miles Miller<\/strong> (Lewis Pullman)<\/strong>, its sole employee. One day, four disparate guests arrive: Daniel Flynn (Jeff Bridges)<\/strong>, a priest; Laramie Seymore Sullivan (John Hamm)<\/strong>, a salesman; Darlene Sweet (Cynthia Erivo)<\/strong>, a singer; and Emily Summerspring (Dakota Johnson)<\/strong>, a mysterious woman. As their true identities and hidden agendas surface, events at the El Royale take a decidedly sinister turn.<\/p>\n

Bad Times at the El Royale<\/em> is a film that elicits conflicting reactions. At times, it feels like a genuinely compelling work; at others, it feels unnecessarily prolonged. The film suffers from two key issues. First, Drew Goddard’s<\/strong> distinct and personal style, so evident in The Cabin in the Woods<\/em>, is largely absent. Instead, the film heavily emulates Quentin Tarantino’s<\/strong> storytelling approach, employing chapter divisions, non-chronological narratives, and perspectives shifting between characters \u2013 techniques characteristic of Tarantino’s filmmaking. Second, at 2 hours and 21 minutes, Bad Times at the El Royal<\/em> feels overextended. A reduction of approximately twenty minutes would have enhanced the pacing and prevented stagnation in certain segments. However, the film boasts impressive cinematography, meticulously crafted environments, and a convincing period aesthetic.<\/p>\n

John Hamm<\/strong> delivers a masterful performance as the salesman harboring a secret. He is a consistently reliable actor, demonstrating his talent even in less distinguished projects. Jeff Bridges<\/strong>, portraying the priest<\/em> with a concealed past, is characteristically excellent, arguably providing the film’s strongest element. Bridges’ interpretation elevates the overall quality of the film.<\/p>\n

Dakota Johnson’s<\/strong> performance is adequate, but lacks a certain spark; her character feels somewhat underdeveloped. Elaborating further would necessitate significant spoilers. Cynthia Erivo<\/strong> effectively portrays Darlene Sweet, although the character’s spontaneous musical outbursts, initially charming, become slightly repetitive.<\/p>\n

Miles Miller (Lewis Pullman)<\/strong> presents an interesting character, but Goddard’s narrative arc falters, culminating in a somewhat ambiguous religious conclusion.<\/p>\n

Chris Hemsworth<\/strong>, who appeared in The Cabin in the Woods<\/em> prior to achieving widespread fame, returns in Bad Times at the El Royale<\/em> as a ruthless psychopath. While it’s intriguing to witness Hemsworth in a non-heroic role, the character lacks a certain menace, falling short of the intended level of intimidation.<\/p>\n

In conclusion, Bad Times at the El Royale<\/em> is not a poor film. The initial half demonstrates flashes of Goddard’s ingenuity from The Cabin in the Woods<\/em>. However, the latter half suffers from a stylistic shift, becoming a derivative of Tarantino’s work, which has been executed more effectively elsewhere. Ultimately, the film receives a passing grade, but falls short of true excellence.<\/p>\n