Blade Runner 2049 Online Subtitrat in Romana – [1080p]

calificativ : Blade Runner 2049
a dezlănțui : 2017-10-04
arhivare : 164 Minutes
gen : Science Fiction, Drama

“Blade Runner 2049 embraces the enormous shadow cast by Blade Runner 1982 by crafting a vast immersion in scale and vision…”

Read the full review here: http://screen-space.squarespace.com/reviews/2017/10/5/blade-runner-2049.html
In a wonderfully woeful world, a detective makes a sad attempt at a relationship, has the most inventive sex scene ever committed to screen, and grapples with an existential crisis as he does his work. This stuff, which could work as a standalone story, is so strong that this movie must be seen.

Unfortunately, the movie doesn’t realise that the protagonist’s everyday life is the best part, and instead focuses on a larger-than-life, goofy premise meant to tie 2049 to the original and set up another sequel, thus undermining what would otherwise be a gripping, intimate story.
Hail to the Science Fiction gods as they came to their senses and granted upon the eagerly movie-going masses the long-awaited arrival of a stunning and opulent _Blade Runner_ sequel. Perhaps we should praise the understated genius and visionary mastermind Ridley Scott for his 1982 directorial accomplishment in serving up what appeared to be an underappreciated and overlooked SF thriller in its heyday over three decades ago only for it to emerge now as one of the greatest Science Fiction futuristic capers worthy of its cult classic following?

Maybe the long overdue kudos are reserved for the diehard nostalgic _Blade Runner_ bunch whose committed and fanatical fandom was the key catalyst for this undeniably brilliant, brainy, dazzling and polished presentation to resurface and give new vitalizing breath and striking energy to the Science Fiction genre in conception? Could it be possible that Hollywood simply saw opportunistic and healthy box office receipts to restart another pop cultural juggernaut from yesteryear’s cinematic scene?

Is there a returning Harrison Ford fixation/fetish blossoming courtesy of his past blockbuster film resume that boasts the obvious inclusion of prominent SF/adventure fantasy biggies such as both the _Star Wars_ phenomenon and the _Indiana Jones_ installments with _Blade Runner_ now taking up the matinee mantle?

Regardless of the film-making forces at hand or the key reasoning for this 164 minute visually arresting odyssey updated and packaged for bombastic _Blade Runner_ enthusiasts and dedicated SF connoisseurs the proof is in the proverbial pudding as **Blade Runner 2049** has made its auspicious presence known and succeeds thrillingly as an indelible wonderment in imagination, intrigue and intelligence.

Breathtakingly rich and vibrant in its overlong execution, **Blade Runner 2049** is a lustrous escapist epic that resonates with snappy pop, thought-provoking tendencies and atmospheric grittiness that soundly resonates. And yes…the participation of the aforementioned and omnipresent Ford reprising his role from 35 years ago is indeed the appealing and motivating factor to re-enter the anxiety-driven world of intrusive replicants, societal annihilation and the guessing game of humanity infiltration.

It seems that the intense workmanlike charm and structured suspense in the rebooted **Blade Runner 2049** has not missed a single beat as it colorfully brings its brand of contemplative tension and underlying humorous texture to this sumptuous spectacle. Importantly, the film’s philosophical edginess and saturated cynicism stays true to Scott’s unflinching vision of introspection about the valued properties of life and who are the chief architects of such a unique gift of existence. Consequently, speechless Science Fiction audiences once again are transfixed by the mesmerizing yet old adage about the rivaling ‘have’s and ‘have nots’ especially so vital in the gloomy squalor and doomsday darkness that Scott created so fervently in his vintage edition that set the stage for renegade blade runners in a power struggle with defiant, roguish replicants disastrously flirting with the sacred boundaries of humankind.

Filmmaker Denis Villeneuve (‘Arrival’, ‘Sicario’, ‘Prisoners’) has stepped into some pretty mighty cinematic shoes in dusting of the mothballs of _Blade Runner’s_ haunting and hedonistic past in an accomplished effort to bring forth a percolating potboiler of a challenging and imaginative hue to its succulent successor in 2049 with surging, exquisite aplomb. Screenwriters Michael Green (‘Alien: Covenant’, ‘Logan’) and Hampton Fancher (‘Blade Runner’, ‘The Minus Man’) manage to brilliantly convey the dystopian disillusionment as the caustic yet compelling commentary concerning the decline of humanity and how it is feverishly on the brink of non-existence. The fuzzy lines are crossed for the calculating chaos and corruptible wheels that are turning so aimlessly and shockingly. The sins of sinners, good, bad or indifferent, gloriously are stemmed in moodiness and mystery. Additionally, notably iconic cinematographer Roger Deakins (‘Fargo’) cultivates a dank, hazy-coated landscape where shadowy imagery compliments the dour suspicions of determined man versus durable machine co-existing in a hostile futuristic fantasy world of techno-dismal dimensions. Also, kudos are reserved for Hans Zimmer and Benjamin Wallfisch for their soaring, energetic score that undercuts the tension and turmoil.

In a nutshell, Ryan Goslin (Oscar-nominated for 2016’s ‘La La Land’) is a young blade runner known as ‘K’ whose mission is to track down veteran Rick Deckard (the returning Harrison Ford…also a former Oscar nominee) in the aftermath of a major uncovered secretive revelation that requires the missing senior badge-flashing blade runner’s undivided attention. The problem remains, however, is that Deckard has been out of circulation for three decades and so the search is on for K to hunt down the long-absent Deckard.

Indeed, Officer K’s critical and contemplative police work is, to mildly put it, seek out the about-to-expire, unpredictable and resistant replicants and eradicate them when necessary. The replicants, mechanical menaces with artificial intelligence that are living among the humans incognito, are the main focus of the LAPD and K enthusiastically is immersed in the manhunt for the hidden techno-tyrants with militant mindsets that could strike at any moment among the walking flesh. K strives to put them out of their mechanical misery as his sworn duty to serve and protect but he is handcuffed (no pun intended) by the political politeness and procedural proprieties as pushed by his boss Lt. Joshi (Robin Wright). Basically, K is under surveillance based on his fragile mental state and Joshi is the one to contain this gritty-minded cop’s wandering psyche.

Thankfully, there is undeniable texture and intensity that fortifies **Blade Runner 2049** due to the layered and complex story that effectively taps into the robust realm of man’s possible mercy call at the dominant feet of advanced and sophisticated technology. This observational sentiment certainly rings true in contemporary times as selective human beings feel lost, intimidated, overwhelmed and need to surrender to the mounting shifty pressures of an exposed society seemingly ruled by sinning opportunists on both sides of the shady aisle, mechanisms rendered equally with blood and bolts.

Refreshingly, **Blade Runner 2049** is devoutly cerebral in passion and old school perception. Oddly, Villeneuve’s mixture of science fictional roots and thought-provoking dramatic art house probing works while adding a realistic and somber milieu of existential foreshadowing. Gosling is gloriously geared as the hound dog-faced law enforcer too close for comfort on the fringe of film noir-style burnout as he gets embroiled deep into an abyss of head-scratching discoveries. Ford does not miss a single beat as the gravel-faced, handsome-aged Deckard saddled in adventurous mode despite the matured years since his early 80s heyday in the mundane, ground-breaking _Blade Runner_ blueprint from yesterday. Oscar winner Jared Leto (‘Dallas Buyers Club’) joyously lets it all hang out as the wickedly off-kilter character Niander Wallace. The feminine inclusion of Wright’s top policing babysitter Joshi and Ana de Armas as K’s love interest, Joi, are welcomed personalities. Ex-wrestler/actor Dave Bautista (hot off the ‘Guardians Of The Galaxy’ film series) is a larger-than-life specimen as always in proven popcorn blockbusters.

Convincingly well-structured, profound, purposeful and without a prosaic bone in its bountiful body **Blade Runner 2049** is stunningly sumptuous Science Fiction theater for the thinking man and for the progressive machinery master-blasters as well.

**Blade Runner 2049** (2017)

Warner Bros. Pictures

2 hrs. 44 mins.

Starring: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista and Carla Juri

Directed by: Denis Villeneuve

Written by: Michael Green and Hampton Fancher

MPAA Rating: R

Genre: Science Fiction/Action & Adventure/Fantasy/Drama

Critic’s Rating: ***1/2 stars (out of 4 stars)

(c) **Frank Ochieng** (2017
The film was actually rather disappointing. As a film it was OK, but as a sequel to Blade Runner, it was terrible. There were some nice in-jokes and references, but overall low-brow junk masquerading as high-brow gold (it was directed by Villeneuve, so I really shouldn’t have expected better, the only thing he’s good at is making stupid people think they are clever). Everything seemed forced and unnatural. The plot was trite and cliched, and everything was very predictable. Totally a wasted opportunity ;^
Strikes a true balance between new and old. Denis Villeneuve has a perfect filmmaking record in my mind, and _Blade Runner 2049_ continues that trend with aplomb.

_Final rating:★★★★ – Very strong appeal. A personal favourite._
As a movie this is a very good movie. The scenery, the acting, the colors etc. are of a very high technical standard. To me personally however, this movie is much too dark and depressing for my taste.

I cannot say that I am surprised that the movie is dark. The first movie was a rather dark one after all and this one is a truly post-apocalyptic one. I quite liked the first movie despite its dark setting though. However this one takes the darkness and melancholy to an entirely new level.

As I said before, technically the movie is great. The scenery is stunning whether it is a dirty little hut out in the badlands or the equally dirty vast cityscapes. The scenes of the abandoned city where Decker is (re)introduced is sad but beautiful.

The acting is more or less great from all the main characters and the special effects are very well done and just right to fit with the rest of the movie.

Unfortunately I cannot bring myself to give it more than 3 out of 5 stars. It has nothing to do with the quality of the film but a lot to do with my personal taste which of course is reflected in my ratings.
I don’t understand what people like in this movie. It has some good things, but nothing much to deserve such big rating. Soundtracks & atmosphere are really good & it’s well shot, however story is confusing & everything is all over the place. I still didn’t understand what was the whole story of movie and it is extremely slow & prolonged. Very small amount of talking & a lot observing moments. Every minor action is prolonged. Like you see man laying in the snow for a few minutes & etc… I didn’t like the movie & it took more than 2:30 hours of torture and boredom…
The only thing _great_ about Blade Runner 2049 is the cinematography and the Atari sign, but it was just trying to copy Blade Runner instead of a new story. Outside of that it’s dog dung. The music is a poor knock off Vangelis score. The story is basically fan-service and pandering by the studio with the tons of plot holes. It includes of biblical references, and aspects from the books _Fahrenheit 451_ by Ray Bradbury, that also takes place in 2049, mixed with _1984_ by George Orwell to try to come off as intellectual, but utterly fails and is poorly done. It practically ignored _Do Androids Dream of Electric Sheep_ by Phillip K. Dick. The original Blade Runner film did too, but at least that film was interesting. This film doesn’t introduce anything new or anything that could be considered an original idea. The editing is awful. Dragging out scenes for no reason other than an attempt to appear “intelligent and serious” or to try to mimic ‘Blade Runner’ doesn’t work since there’s no reason for it story wise. It’s kind of like a Zack Snyder movie, in that regards. The acting is subpar and wooden. Harrison Ford was phoning it in. It’s a shallow film that misses the point. Here’s a neat idea, why not try to actually adapt _Do Androids Dream of Electric Sheep_ into a film.

I don’t understand why people think this shallow movie is an intellectual and intelligent movie.

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Aswathama Online Subtitrat in Romana – [1080p]

calitate : Aswathama
a elibera  : 2020-01-31
arhivare : 133 Minutes
gen : Action, Crime, Thriller

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Spider-Man: Homecoming Online Subtitrat in Romana – [1080p]

campionat : Spider-Man: Homecoming
a dezlănțui : 2017-07-05
arhivare : 133 Minutes
gen : Action, Adventure, Science Fiction, Drama

There’s now officially (not at all officially, more like just-my-opinion-ally) twice as many good Spider-Man movies as there is bad ones. But _Homecoming_ is my favourite of the bunch. 2017 has been a great year for the Superhero genre, and _Spider-Man: Homecoming_ does nothing to buck that trend. It’s got everything a Spider-Man movie should have: Heart, humour, action, spectacle, a grounded school life, coming-of-age themes, and all this while firmly rooting itself in the Marvel Cinematic Universe — without relying on the framework of the past to hold it up. _Spider-Man: Homecoming_ is spectacular, and it stands up both on its own, and as a part of the larger universe.

_Final rating:★★★½ – I really liked it. Would strongly recommend you give it your time._
Disappointing return for the webslinger. After the dramatic introduction in Civil War this film feels like an excercise in keeping the coffers full.
Unlike the Toby Maguire films this incarnation feels flat. It never manages to really put our superhero in any real peril…it just goes through the motions and ticks boxes. Granted it is mostly enjoyable, but did we need it??
No.

The suit and inclusion of Iron Man takes away from what is great about Spiderman. The fact he has to juggle school, work, realationships is what kept him grounded…
He does not need Iron Man’s suit or him flying in to save the day!!

Also, why does he not have a spidey-sense?!? He gets nailed left, right and centre!

* To conclude; disappointing, Yes, as Spiderman just became another member of Tony’s team…when he should stand alone.
I guess I should not be too surprised given the Spider Man character we saw in the latest Captain America but I have to say that I was, well, hoping for something else, as in something better.

If the producer/writer intended to make a Spider Man movie for kids, and I mean kids, not young adults but kids, then this movie is hitting the spot. It is an excellent action/adventure movie for kids. Unfortunately I am not really in that viewer segment and for me this movie was pretty bad.

The movie is childish. There is no other way to describe it. My memory of spider man is a quite serious young man with a sharp and witty tongue. Not the fumbling and childish Spider Man in this movie. His best friend may be a good computer geek but otherwise he is dumb as a door nail and just tiring to watch. His, supposedly adult handler is a screw up who, surprise surprise, is hanging up the phone because he cannot be bothered to listen to kids.

The FX may be good as FX goes visually but it was also the typical, nonsensical Hollywood rubbish like boats that stays afloat forever despite being split in half etc. etc. The talking Spider Man suit appears to be programmed by the same guy who wrote the childish script.

The main bad guy pretty much has zero charisma and is nothing but a simple thief. Same goes for his buddies.

The SJW crap spread out here and there in the movie, especially in the Washington Monument scenes, was unwanted and just pissed me off.

I am afraid that this movie missed its mark for me by a wide margin. I do not understand why it seems to be so bloody difficult for Hollywood to make a good Spider Man movie. I like Spider Man, the comics character that is, so I find the slew of substandard movies really disappointing.

The only reason it doesn’t get less than two out of three stars from me is because, as a kids movie, it is not at all bad (except for the SJW crap). It wasn’t what I was looking for though.
**Young & hungry to fight crimes!**

No doubt, Tobey Maguire Spider-man is the best. It was also the first modern superhero of the millennium. The visual effects and entertainment wise, the second live-action Spider-man was good too, but this one is so different. This is about a teenage superhero. Just a kid. Having possessed such superpower, how he manages it alongside his normal life was nicely told.

This story begins straight away, because the introduction was done in the previous Marvel film, which are part of Avengers universe. Peter Parker assisted by Tony Stark, is very keen to fight small crimes compared to what Avengers fighting for. He feels, he’s held back by Iron Man, so he wanted to make independent decisions. At one stage he succeeds in that, but things get more severe. Fighting bad guys, and the other side of his life, a romance, how the remaining story turns out are revealed with a twist.

Tom Holland was good. The story was simple, more like one liner. But the visuals and each scene forged nicely. Having seen all the five previous Spider-man films, this was quite predictable. Particularly the characters and their connections. Seeing how it had ended, it is possible that the daughter of the villain could take-over her father’s place. That would be very interesting, because of the linkage between the film characters.

After seeing the first look, I was afraid that this young Spider-man might be overshadowed by Iron Man, but those parts really well done. Comparing it with the 15 years ago Spider-man, the technology has been the biggest change. That’s why I still love Tobey Maguire film. Very simple and down to the earth without cell phones, computers. But the current superhero films are all alien oriented/connected theme, and of course digital technology a big leap. Hoping the next film too would impress us with the same intensity. So lets wait for summer 2019.

_7/10_
After the failure that was ‘The Amazing Spider-man 2’ Sony made a drastic decision in lending the character back to Marvel, and did it pay off? Absolutely!

Unlike the Sam Raimi trilogy where Toby Maguire was a better Peter Parker than Spider-man and the Mark Webb duology where Andrew Garfield was a better Spider-man than a Peter, Tom Holland encapsulates both characters perfectly.
Of course there were a negatives, especially in the second act which drops off a bit but the movies does such a wonderful job of recapturing our attention that you just can’t help but forgive the movie for it!
AMAZING!!
My expectations were extremely low before this one released. Can’t argue that the Amazing Spider-Man movies are very bad, yet there is always a room for a getting worse. But seriously, Homecoming has completely changed my experience from movies by Marvel x Sony Pictures. It was entertaining and moving. Furthermore, it’s as good for re-watch as well, what is a completely new experience for me.
Spider-Man: Homecoming can’t even hold a candle next to Sam Raimi’s first two Spider-Man films, not to mention Spider-Man: Into the Spiderverse. Homecoming is simply Marvel’s integration of Spider-Man into the MCU. It works on that level. Tom Holland is a good Peter Parker; finally an actor that looks like a high school student! Marisa Tomei does a really cool, sexy Aunt May, which I never thought I’d ever see. Michael Keaton is excellent as Vulture, one of the more interesting villains in the MCU.

The relationship between Tony Stark and Peter Parker is good but should have been better. It’s clear that they half-assed the development of these two characters. The high-tech Spidey suit is neat but gives off the sense that the movie is trying to be too much like Iron Man.
I personally thought all hope was lost, there’s no way ANOTHER Spider-Man reboot could be successful. Yet this movie is colourful, fun, and fitting movie for the MCU
A lot of fun!

‘Spider-Man: Homecoming’ is entertaining, as I had expected in truth. The plot is possibly not as great as it could’ve been, but it is still one that is enjoyable to see. The effects are excellent, as is the humour.

Tom Holland is the star of this though. He kills it as the titular character, he adds a tremendous amount to the film. Michael Keaton plays his role well enough, while it’s cool to see ‘Iron Man’ duo Robert Downey Jr. and Jon Favreau involved.

Jacob Batalon is good, while it’s noteworthy to have Zendaya and Donald Glover appear; even if they are underused/unimportant, at least for now for the former, I assume. I found the whole cast enjoyable, to be fair.

This narrowly misses the next rating up from me, but I still had a very pleasant time watching – and await the follow-up with much eagerness!
Once again, Marvel have succeeded in reinventing this franchise – and again, they have alighted on a Brit. Tom Holland is a super choice as our hero – he has oodles of on-screen charisma; he genuinely looks like he can’t believe he is there half the time, and that all helps to make for an enjoyable fantasy adventure film. This time, he has to learn to master his spidey-senses (with a bit of help from “Tony Stark” (Robert Downey Jnr.) and the very rarely “Happy Hogan” (John Favreau)) before Michael Keaton – equipped with wings and a seriously powerful ray gun destroys all in his path. The performances are top drawer; the script is quickly paced with plenty of action, determination, humour and the slightest hint of menace, and the cleverly designed effects blend seamlessly into the action creating a thoroughly entertaining film. It is a bit too long, to be honest – but the casting is good, the direction tight and the whole thing a good family watch with a little bit for everyone.

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Thumb Wars IX: The Thighs of Skyskipper Online Subtitrat in Romana – [1080p]

campionat : Thumb Wars IX: The Thighs of Skyskipper
lansare : 2020-12-01
arhivare : 90 Minutes
compoziţie : Comedy

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What the Constitution Means to Me Online Subtitrat in Romana – [1080p]

campionat : What the Constitution Means to Me
: 2020-10-16
arhivare : 100 Minutes
compoziţie : Drama

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Takeover Online Subtitrat in Romana – [1080p]

titlu  : Takeover
a răspândi  : 2020-07-02
arhivare : 87 Minutes
gen : Comedy

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Moloch Online Subtitrat in Romana – [1080p]

titulatură  : Moloch
a dezlănțui : 2022-05-19
arhivare : 99 Minutes
gen muzical : Horror

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Of An Age Online Subtitrat in Romana – [1080p]

subtitlu : Of An Age
a dezrobi  : 2022-08-04
arhivare : 99 Minutes
gen : Drama, Romance

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Hospicio Online Subtitrat in Romana – [1080p]

titlu  : Hospicio
a dezrobi  : 2018-10-12
arhivare :
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Bad Times at the El Royale Online Subtitrat in Romana – [1080p]

colontitlu : Bad Times at the El Royale
a răspândi  : 2018-10-04
arhivare : 141 Minutes
gen : Thriller, Drama, Mystery, Crime

_Bad Times At The El Royale_ was exceptional. Through its preview period, I was hooked from the teaser trailer to the 24th TV Spot released. Drew Goddard knew how to make a wonderous and exciting thriller through its magnificent casting and so much more. All these trailers set high expectations which made me worry a little bit as I don’t like getting myself too excited for movies because sometimes, I get very disappointed. But with this, it exceeded my high expectations. _Bad Times At The El Royale_ just crushed it and it felt riveting the whole time which is something that is hard to find in films nowadays.

The casting was incredibly on point for this with Dakota Johnson, Jeff Bridges, Jon Hamm, Lewis Pullman, Chris Hemsworth, Cailee Spaeny and Cynthia Erivo delivering Oscar-worthy performances. Both Lewis Pullman and Cailee Spaeny deserve a lot of recognition. They just both developed so well throughout and it just astounded me at the level that they could deliver. The best thing about all these wonderful and exciting characters were the connections they all had with each other whether it be a love/hate relationship. To avoid spoilers, I will not highlight who my favourite connection was but _Bad Times At The El Royale_ knew how to deliver excellent performances and wonderful connections.

The story was captivating in itself but what really accompanied this well-made film was its soundtrack which really packed quite a punch. Songs like This Old Heart Of Mine by The Isley Brothers, which was featured in the trailer and sung incredibly well by Cynthia Erivo, and Can’t Take My Eyes Off You by Frankie Valli just fit in the most perfect ways. Movies like _Baby Driver_ and _Shaun Of The Dead_, both coincidentally directed by Edgar Wright, wouldn’t have been what it was without its soundtrack, and it’s unfortunate to say that _Bad Times At The El Royale_ would have suffered a bit without the ‘60s music.

Fortunately, nothing disappointed me at all with this movie because the height of intensity was just there without doing to much to establish it. Jon Hamm was most of the reason, along with Chris Hemsworth, that really helped make this such a great film. Drew Goddard produced beautiful camerawork and outstanding set design. It is truly one of the most brilliant films ever created and I’ve only ever been astounded this much by _Searching_ as I kept feeling like I didn’t know what was going to happen. And honestly, I didn’t. But the big thing that would keep certain audiences away is the level of gore that I’ve only ever seen in Tarantino films and _Brawl In Cell Block 99_. _Bad Times At The El Royale_ is a lot like Tarantino’s _The Hateful Eight_ but it was done 10x better. Everything just seemed to click with me throughout the long runtime and I’m glad I didn’t give this a miss.

_Bad Times At The El Royale_ is wonderful with unpredictable plot twists, exceptional casting and chemistry, a smartly written script and high intensity levels. I expect to see a lot of Oscar nominations for this movie as it deserves a lot of recognition whether it be surprising performances from the likes of Dakota Johnson and Lewis Pullman or fantastic costumes and design. _Bad Times At The El Royale_ just clicked with me 100% and could not lose my attention from the second I saw Nick Offerman walk into his hotel room. I paid attention to every second and enjoyed it so _Bad Times At The El Royale_ deserves a thrilling 10/10.
More often than not, the fragmented, time-jump-y form of storytelling (a la Tarantino) doesn’t do it for me. But _Bad Times at the El Royale_ nails the format, and just about everything else while it’s at it.

_Final rating:★★★★ – Very strong appeal. A personal favourite._
**_Derivative, predictable, and dull_**

> _There is something about hotels that I find very romantic. You get to try on a different life in a hotel. You’re usually in a new place when you’re staying in a hotel. There’s something about the experience that allows you to be a different person. You can think to yourself: “Oh, this is what it would look if I were in Paris. This is what it would look like if I were in New York.” There’s something about it that transports you somewhere and that, I suppose, has always been good for creativity and imagination. I love the entire spectrum of hotels, b__ecause for a creative person, it’s about trying on a new life. For the El Royale, I liked this idea of a hotel that had a shadier side to it._

– Drew Goddard; “Exclusive _Bad Times At The El Royale_ Interview With Drew Goddard” (Simon Gallagher); _WhatCulture_ (October 9, 2018)

Following the genre-bending, utterly insane, and extremely funny _The Cabin in the Woods_ (2011), _Bad Times at the El Royale_ is the second feature from writer/director Drew Goddard, who has also accrued writing credits for Matt Reeves’s _Cloverfield_ (2008), Marc Foster’s _World War Z_ (2013), and Ridley Scott’s _The Martian_ (2015), as well as TV shows such as _Buffy the Vampire Slayer_ (1996-2003), _Angel_ (1999-2004), _Alias_ (2001-2006), and _Lost_ (2004-2010). In short, he has an impressive résumé. As it stands in relation to _Cabin_, _Bad Times_ is a similarly stylised cine-literate genre mash-up. However, whereas in _Cabin_, the twist upon twist upon twist had a cumulative effect, with the story getting better the longer it went on and the weirder things got, in _Bad Times_ it’s a case of ever diminishing returns. By the time we reach the end of the lengthy 141-minute runtime (more on that later), with everything and everyone shoehorned into neatly explained niches, the film has been shorn of its vitality, leaving one with an overriding impression of “meh”. If _Cabin_ was a genuinely new spin on a clichéd old story, playing with and subverting genre at every turn, _Bad Times_ is singularly unable to free itself from the most oppressively derivative of its generic constraints.

Set in 1969, the film takes place almost entirely in the titular El Royale Hotel (actually a motel, and obviously inspired by the Cal Neva Lodge & Casino), a once popular but now fading novelty spot situated half in Nevada and half in California, with a line literally running down the centre of the property to delineate the border. To say too much about the plot or characters would be to ruin some of the twists (which is ultimately all the film really has going for it), but the basic set-up is that over the course of one night, seven people will encounter one another but not all seven will leave. There’s Fr. Daniel Flynn (Jeff Bridges), a Catholic priest on the way to see his brother; Darlene Sweet (Cynthia Erivo), a singer travelling to a job she doesn’t want; Emily (Dakota Johnson), an intensely private woman who wants nothing to do with any of the others; Laramie Seymour Sullivan (Jon Hamm), a slick vacuum cleaner salesman; Rose (Cailee Spaeny), who appears to be Emily’s kidnap victim; Billy Lee (Chris Hemsworth), a cult leader obviously based on Charles Manson; and Miles Miller (Lewis Pullman), the motel’s receptionist/bellhop/maid/barman/manager. As the night wears on, it becomes apparent that not only are few of these people who they claim to be, but the motel itself is hiding its own dark secrets.

If that set-up reminds you a little of James Mangold’s _Identity_ (2003), you’re not completely off course. _Bad Times_ shares very similar DNA, at least up to the point where _Identity_ goes totally batshit crazy; both are set in an out-of-the-way motel where a group of strangers are trapped overnight, and all, or some of them aren’t who they appear, with the audience slowly filled in on their backstories via flashbacks. However, whereas _Identity_ failed because the last half-hour is patently ridiculous, completely undermining the excellent build-up of tension and mystery, _Bad Times_ has the exact opposite problem – the conclusion is decidedly underwhelming, failing to build on an excellent set-up, with the last twenty minutes or so lapsing into utter mundanity, and, most unforgivably for a mystery film, twists for twist’s sake. The structure also somewhat recalls _Lost_ (a disparate group of strangers forced together at a mysterious location filled with secrets, whilst a flashback-heavy narrative fills us in on who these people are), and, perhaps more obviously, the high-concept, perspective-shifting, often achronological _Pulp Fiction_ (1994) imitators of the late 90s; films such as John Herzfeld’s _2 Days in the Valley_ (1996), Peter O’Fallon’s _Suicide Kings_ (1998), and Troy Duffy’s _The Boondock Saints_ (1999).

To start on a positive note though, _Bad Times_ looks terrific – as you would expect from veteran cinematographer Seamus McGarvey (_The Hours_; _We Need to Talk About Kevin_; _Nocturnal Animals_), the photography is faultless, whilst the production design by Martin Whist (_Down with Love_; _Devil_; _Super 8_) and the art direction by Michael Diner (_Firewall_; _Night at the Museum_; _Redacted_) are superb, with the ultra tacky period detail dripping off the screen. Directorally, Goddard also has his moments with some eye-catching compositions, locked-off cameras, POV shots, and lengthy single-take Steadicam sequences. However, it’s in relation to this last point where one of the film’s most immediate problems is to be found – the solid directorial work is completely out of step with the vapid writing, as if a screenplay intended for Michael Bay ended up being directed by Michael Mann (although Goddard is certainly no Mann). The barely-there storyline seems to be nothing other than a hangar onto which to drape a tone and style, rather than generating that style.

Perhaps in relation to this disparity between style and story, the film’s second strongest sequence is the opening scene. Shot entirely from a fixed camera position, and looking for all the world like a stage play, the scene is completely wordless, and charts the course of several hours in one of the motel rooms, as a man whose face we never clearly see checks in, moves all of the furniture to one side of the room, pulls up the floorboards, hides a bag under them, places them back, puts all the furniture back, relaxes for a while, and is promptly shot dead. The scene is a masterclass in slow-burning tension – we know something bad is going to happen, but Goddard refuses to pull the trigger prematurely, so when the violence does erupt, it’s a pseudo-cathartic moment for the audience (incidentally, the film’s best sequence is similarly abstract, slowly plotted, and mostly _sans_ dialogue, but as it involves the discovery of an important and unexpected location within the motel, to say any more would be a spoiler). The problem is that the heavily stylised and brilliantly directed opening is so good, it spoils the audience, establishing a tone to which the rest of the film mostly fails to live up.

In direct contrast to the opening, the ending is both narratively and directorally formulaic, predicable, and trite, with the least compelling and well fleshed out character taking centre stage, mano-a-mano good guy/bad guy dialogue aplenty, and even a ludicrous shoot-out. The whole things smacks of “been there, seen that a million times.” Additionally, whereas the opening is effortlessly enthralling and distinctive, as the film lumbers on, and Goddard begins to run out of directorial tricks, there are sequences which scream “look how cool I am.” For example, Billy Lee whirling toward the camera, eating pie, shirt agape, hair soaking wet, dancing to the sounds of Deep Purple’s cover of “Hush” (1968) is so desperate to become iconic that it instead comes across as self-parody.

Another significant problem is that the characters all feel like generic archetypes ripped out of other films, with none giving the impression of being a real-person, with their own agency and interiority. They are, in essence, walking plot-points. The script is also exceptionally weak in how it handles exposition (of which there is a significant amount). There seems to have been little attempt to organically introduce heavily expositional scenes, or integrate them with the surrounding material. Instead, on several occasions, the plot literally stops whilst characters explain things to one another. A particularly bad example of this is when Flynn and Sweet arrive at the motel reception. Sullivan is already there, and begins to tell them the inner workings of the establishment, having stayed there numerous times in the past. Then Miller turns up, and begins to recite a rehearsed sales pitch. Simply trading exposition from one character to another doesn’t mean it’s not exposition – the scene is painfully slow, dull, and pointless, telling us precious little that we actually need to know. Indeed the entire issue of the motel being bi-state is strangely pointless. Aside from the novelty value, it is never factored into the narrative, and one wonders why Goddard set the film in such a specific location if he had no plans to use that specificity thematically.

A final problem which must be discussed is that 141-minute runtime. Padded, and massively self-indulgent, there is enough narrative content to barely fill a 90-minute duration. One of the most egregious missteps in this respect is Goddard’s tendency to ponderously play out the same scene from multiple points of view, but in such a way as to give the audience only a smidgeon of additional information, so by the third time we’re seeing a scene (which was too long even the first time around), it becomes an endurance test. Also, with this runtime and so little content, needless to say, the bottom falls out of the film entirely during the middle section, as things become unrelentingly slow and contrived. Goddard seems to equate curiosity about who the characters are with filmic suspense, meaning things take a decided turn for the mundane long before the underwhelming _dénouement_. The interesting set-up earns him a fair bit of wiggle room in relation to this, but he abuses it, pushing the audience far beyond the point where they simply give up caring about anything on screen. And when he finally does get around to wrapping things up, the last few twists are nowhere near enough of a reward. Personally, I was left feeling that the mysteries were more rewarding than the explanations.

Part 1930s-style pulp fiction, part 1940s and 50s-style film noir, and part 1960s-style paranoid thriller, the film flirts with a few themes (redemption, forgiveness, karma, political corruption, the seductive nature of power), but none get off the starting grid, and ultimately, _Bad Times_ isn’t really _about_ anything. Hyper self-aware, and attempting to both subvert and celebrate generic conventions, Goddard seems to think he has a bonafide epic on his hands, a portent piece of celluloid mastery which samples the best of hard-boiled crime fiction, and imparts valuable lessons in the process. He doesn’t. It’s more self-indulgent folly than paean of universal truth. And it’s painfully dull.
Although the first half presents a smart and mysterious blend of, say, ‘The Hateful Eight’ and ‘Identity’, the plot lacks the puzzle pieces to grow towards a grand solution in it’s ending.

7/10

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