Directed by Drew Pearce
Starring – Jodie Foster, Sterling K Brown, Sofia Boutella
The Plot – Set in riot-torn, near-future Los Angeles, ‘Hotel Artemis’ follows the Nurse (Foster), who runs a secret, members-only emergency room for criminals. All hell breaks loose when one of the hotel patrons (Brown) gets his hands on a valuable asset that will turn their tranquil hotel into a turf battlefield.
Rated R for violence and adult language throughout, some sexual references, and brief drug use
– The set pieces of the hotel are very elaborate and detailed for bringing together the relationship between hospitals and hotels. There are subtle hints at movies that display hospitals, in that there are blinking lights, isolated staff, and even that feeling of a world so far away from that of the outside. Yet the digs at the hotel side clearly make up the blueprint for the housing designs, as well as the interior decorating that speaks levels to some hotels ideas of tropical getaways in themed room designs.
– While the character exposition is as minimal as you’re going to find, this star-studded cast more than make up for the temporary dilemma. I could talk wonders about Sterling K Brown’s everyman approach to his taking of this thief, or Dave Batista’s continued comedic humbling for tearing down stereotypes for what big men can do in Hollywood, but it’s Foster and Boutella who easily stole the show for me. Foster gets lost in this character, juggling a conscience of sorrow and intelligence that makes it clearly evident why everyone turns to her in dire straights, and Boutella finally is granted a screenplay that allows her to find her own unique voice in the role, cutting and stacking bodies like they are bags of fertilizer.
– Hotel Artemis is marketed as an action flick, yet shows great restrain until the final twenty-five minutes of the film to stash its flash. We know that these are very dangerous people, but the film doesn’t deem it necessary to overly drive this point home, and because of such, we are treated to a rumbling third act that tests the walls both in Artemis and in theaters for rich sound design.
– Of course the legendary Cliff Martinez again serenades our ears with a gut-punching score that amplifies the tension behind every corner. Hotel Artemis constantly raises the stakes with each passing minute, and because of such, the gifted Martinez pushes the pace, constructing these dreamy, yet urgent levels of tone that never require repeating to flourish their message.
– This is the second film in two weeks (Upgrade) that injects itself with a futuristic sense of technology without feeling weighed down by the gimmick of presenting something visually surreal from our own world. Because Hotel Artemis is set only ten years in the future, there’s enough responsibility by Pearce as a screenwriter to keep us grounded in terms of the politics taking place outside of the wall, while also offering us an air of optimism for the mind-blowing advancements within the medical field that hint this world may have plenty of room to grow.
– Much of the camera work here is stylishly sleek, following characters with enough of a presence of lens without it ever coming across as compromising to the sequence. When the action finally does pick up, it is detected easily to the audience eye and leaves plenty of allowance for ambiance within the atmosphere to treat the overall presentation as poetry in motion. Boutella’s ass-kicking finale was something that carried with it an array of arsenal, yet I never felt behind or blinded by amateur filmmaking.
– It’s not often that I say this, but I would be all for a sequel or even sequels within this setting, due to the way the script hints at the challenges that such a desolate place would face if it came across the wrong customer. 92 minutes of screen time certainly limits the movements that this place can garner, and because of such, I would be interested in diving more into this futuristic pre-apocalypse with this back-handed building of health residing right in the middle of it all.
– This film does the famous cliche where the antagonists have guns, yet never choose to use them when the shit hits the fan. I can suspend disbelief for a few times, but when the film makes it a point in highlighting that people are denied access because of their firearms, I can only ask myself why those advantages don’t take shape once the rules are thrown out of the window.
– If you’re looking for a film of resolve, Hotel Artemis will only satisfy you for half of the cup. So much is introduced then never further elaborated on throughout the film, leading me to believe that this finished product is either a victim of slash-and-gash re-writes or Pearce as a screenwriter doesn’t think these subplots value much importance. Either way, what is the point?
– Because the film is a quick sit, character backstory and exposition are harshly limited to the minimalist of variety amongst thieves. What this does is present a film in which the characters don’t ever feel as remotely important as the setting they are all destined to, relying far too heavily on the talents of this cast to fill in the blanks where character motivations have left them feeling floundered. My feeling is that I would appreciate another twenty minutes not only in setting up the history of this hotel, but also in pacing out those confrontations amongst dangerous patrons that could help carve out more intrigue for a group so morally bankrupt who could all use more time.