This is the sophisticated film that Quentin Tarantino *thinks* he keeps making. But he gets nowhere near the subtle artistry that Drew Goddard shows in Bad Times at the El Royale.
The opening shot – a still camera watching one man at work and featuring some great editing – sets things up and everything spirals from there.
As new characters arrive and mysteries present and unravel themselves, everyone has a part to play, even if some make an earlier exit than others.
Top contributions come from Jeff Bridges – who has given up mumbling so that he can at last be understood. His scene where he explains his illness is extremely, and surprisingly, touching. But it is his companion in this conversation, Cynthia Erivo, who steals the show with every scene she is in. Not only in the scenes where she sings, where she is incredible, but also when the camera focusses on her face. She conveys a wealth of different emotions without saying a word.
I wasn’t sure about Lewis Pullman to start with, but as his character becomes clearer, he really comes into his own. And Chris Hemsworth is creepily salacious – or salaciously creepy – when he eventually arrives.
There are some things which didn’t quite work for me – a couple of the characters disappearing too soon to have any real impact, under-use of Dakota Johnson, and the two-state thing being irrelevant after the first 15 minutes.
But I enjoyed this a lot, and was glad that I knew nothing about it before going in.