Bad Times at the El Royale exhibits the hallmarks of a personal passion project from writer and director Drew Goddard. It draws inspiration from the late 1960s, incorporating period-appropriate music, a non-chronological narrative reminiscent of Tarantino’s style, and meticulous attention to detail reminiscent of Stanley Kubrick, evident in its color schemes, costumes, and visual techniques.
Henric previously reviewed the theatrical release. While opinions among the editorial staff varied, this review focuses on the UHD 4K edition, one of the first releases in the Swedish (and international) market to feature HDR10+, the open-source, dynamic metadata format competing with the more prevalent Dolby Vision. (A detailed comparison of Dolby Vision and HDR10+ can be found in this review of the Panasonic FZ800).
Bad Times at the El Royale is not only a well-crafted neo-noir thriller, but it was also filmed using traditional 35mm film and anamorphic lenses, rather than digitally, which is now the standard. This approach provides the film with a distinct visual character, offering colors and depth of field that are ideally suited for presentation in 4K with HDR10+. The scene featuring Darlene (Cynthia Erivo) in her car at night, the rain-streaked window reflecting neon lights onto her skin, serves as a reference-quality example of how a high-quality UHD 4K edition, when reproduced on capable displays (in our case, the Panasonic UB9000 player and the OLED FZ800), can surpass the visual fidelity of most digital cinema presentations, especially those in 3D, where brightness and sharpness are often compromised. The film’s opening scene also effectively demonstrates the rendering of shadow detail, color accuracy, and atmospheric lighting, mitigating the impact of the film’s sometimes grandiose or theatrical tone.
The soundtrack is presented in Dolby Atmos. While not a particularly demanding showcase for high-end audio systems, the effective use of sound effects, directional panning (e.g., a knock at an off-screen door), and impactful bass during suspenseful moments contribute to the overall tension. The film’s strong narrative, intelligent editing, and compelling performances ensure that the approximately two-hour runtime, blending elements of a bloody detective story, Shakespearean drama, and Greek tragedy, progresses seamlessly.
The supplemental materials are somewhat limited, but the included half-hour documentary (on the Blu-ray disc) provides valuable insights into the film’s creation and the level of detail invested in this auteur-driven project. The cast and crew excel in their respective roles, from Jeff Bridges’ consistently strong performance to the supporting actors, cinematographer Seamus McGarvey, and the selection of the atmospheric soundtrack.
Bad Times at the El Royale delivers a refreshing cinematic experience that is both engaging and, at times, violent. While stylized, it consistently surprises and entertains. The UHD 4K edition is a recommended purchase for those with the appropriate display technology, as it demonstrates the considerable potential of the HDR10+ format as a competitor to Dolby Vision (despite the film’s theatrical presentations utilizing the latter). While Dolby Vision is currently more prevalent, with support from the majority of physical UHD releases, Apple’s film service, and Netflix, Panasonic’s recent introduction of TVs supporting both HDR10+ and Dolby Vision may diminish this disparity in the future. For viewers currently equipped only for HDR10+, experiencing the film in this format is highly recommended. It offers a visually striking presentation and a glimpse into the potential of future HDR10+ content.
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