Good Times at the Movie Theater

Drew Goddard, tragically, has not made a film since his mind-blowing horror effort The Cabin in the woods . It turned out to be an absolute crime, as evidenced by his latest attempt, Bad Times at the El Royale is purely entertaining from top to bottom and is the exact kind of thing those who complain about a lack of originality with studio films, but who still want something with thrills, need to see. This movie is fresh and one of the most entertaining and creative thrillers of recent memory.

The Bad Weather at El Royale centers on seven strangers crossing paths in a large hotel on the border between Nevada and California. As we learn, each of these people has a secret to keep and they may or may not be what they seem. During a memorable and remarkable night, these secrets will be revealed and everything will go to hell as no one would have imagined upon arriving at this unpretentious hotel.

This film depicts the “stuck aliens” together in one place “trope that has been implemented by a number of filmmakers over the years.” Drew Goddard uses it effectively and this It’s not a gadget in this particular case.It shows a lot of imagination in its craft and this story works best through this narrative device.The only time we go out of this shabby, glitzy hotel and no doubt chic (at least on the surface), it’s when we learn more about the backgrounds of different characters Goddard also uses a familiar narrative device to accomplish this, but these segments are some of the best global elements.

Dreadful new episodes in the trailer of El Royale turn a stay in a hotel into a horror exhibition

No doubt this film v to make a lot of comparisons with the work of Quentin Tarantino. And it should. Specifically, films like Reservoir Dogs and The Hainful Eight also use a similar narrative device. The bad weather at El Royale reached a tarantino plot level, but swap part of the mass for a bit more brilliance and JJ Abrams-esque blockbuster clothing. Goddard still proves that he has the knack to please the crowd, as he did in the past with his screenplay on films like The Martian . But in the driver’s seat, when he has the opportunity, the man can do something special, as can be seen here.

It serves as a kind of slow combustion, but the gain is worth it. The bad weather at El Royale unveils its mystery to the viewers as they had just come across a huge puzzle that they did not have. Had not even understood seeing the picture on the box to help them solve it. Slowly but surely, the image is clear and once the image is fully visible, the fun really begins. This is also happening in the early 1970s. In addition to placing it in the context of the Vietnam War and Richard Nixon’s presidency, and in addition to giving it a decidedly radiant look, there are no technological conveniences modern in-game to help these characters when things move. No mobile phones. No GPS. Nothing like it. This choice adds a charm to the film.

It is hard to imagine a more watchable artist gathering. This cast is littered with naturally captivating people and doing things that we rarely get to see. Jon Hamm has something fun to do here, Chris Hemsworth turns in a performance that no one would ever expect of him, Dakota Johnson stands out from the picture of Fifty Shades and Jeff Bridges, as a very good wine, proves that he only gets better with age, when he turns to a deadly performance. Nick Offerman arrives too and when is it a bad thing? It’s a stacked cast that is miraculously and deliciously overshadowed by some newcomers. Lewis Pullman, son of Bill Pullman, does not just follow in his father’s footsteps. The young Pullman achieves here an excellent performance in layers. Keep an eye on this kid. But that’s Cynthia Erivo, who does not yet know the audience, who steals the show. Erivo exudes confidence, balance and that indescribable and gravitational quality “it” that some performers possess. Do not make mistakes; it is only the beginning for her.

Thrills, Winding and Explosive, The bad weather at El Royale is a dream dream is, as a welcome change, not related to a pre-existing franchise. It’s hard not to recognize the 20th Century Fox logo before this movie and to cry a little bit about the impending merger with Disney. This is the kind of movie we risk losing, but that Mouse House replaces. We must enjoy it while we can, and originally beggars should reward this film with box office dollars.


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