US backpackers Hanna and Liv take a job in a remote Australian pub for some extra cash and are confronted with a bunch of unruly locals and a situation that grows rapidly out of their control.
If Kitty Green’s feminist thriller were based on an actual hotel, its Yelp rating would be dismal. Located literally in the middle of nowhere, surrounded by cracked, scorched Earth and cloaked in dust, the decaying building seems to harbor the most vile white men in the Outback. A keen dissection of male toxicity — or, more specifically, the ambiguity of male behavior that may or may not be toxic — “The Royal Hotel” holds you on the edge of your seat more effectively than the majority of horror films out there. And yet, its main point proves somewhat dubious, if not downright problematic.
Although the film’s protagonists — young Canadian adventurers Hanna (Julia Garner) and Liv (Jessica Henwick) — are given a fair warning about sleazy men, they proceed to accept a job offer at the titular hotel. They need some extra cash, and what’s the worst thing that could happen after all, right? Green’s focus mostly stays on Hanna: she surveys the horrendous, snake-infested rooms, meets the given-up-on-life gruff owner Billy (Hugo Weaving), and endures the tortuous nights working the bar as local mineworkers sexually harass and borderline assault her. Despite Hanna’s frequent pleas, Liv determinedly does NOT want to leave (why, I cannot tell you, apart from maybe she wants to get laid).
One of those men is Matty (Toby Wallace), as creepy as he is charismatic. The girls go to a nearby waterhole with him, drink with him, and seem to befriend him despite his volatile outbursts and the palpable rapey vibes. He’s a sweetheart, though, compared to another sadistic barfly; the tension escalates as hard liquor is consumed under the sweltering Oz sun. Green masterfully keeps us guessing: is this situation harmless, or will it result in tragedy?
The technique is certainly there. The filmmaker confidently guides us down the rabbit hole, keeping us guessing and ranking up the suspense. Not an easy feat. She’s helped tremendously by her lead: Garner again proves that she can hold a film in a near-silent performance (see her in Green’s “The Assistant”). She invites us to experience every emotional nuance with her. The male cast, although a bit one-sided, is also strong. But then Liv’s persistent insistence on staying in what may be one of the worst places on Earth is questionable, especially considering her best friend’s obvious discomfort. If Green aims to criticize men, how come she makes one of her female leads so unreasonable? Henwick struggles to pull it off.
Also, let’s face it, down to the (minor spoiler alert) fiery finale, we’ve seen it all before and recently. Green and Garner’s “The Assistant” aside, in the past few years, we’ve been subjected to a slew of varying quality films whose sole purpose is either to attack the patriarchy allegedly presiding over current society or specifically denounce the White Male. Let’s see: “Barbie,” “Don’t Worry Darling,” “She Said,” that dimwit “Harley Quinn” flick, “The Nightingale,” “Men,” “Bombshell,” the piss-poor “Charlie Angels” remake (I had to mention it), “Promising Young Woman,” “Hustlers,” “Women Talking” — the list goes on and on and on.
Post #MeToo, how many more films will claim men are raping, hoarding and controlling? That side has been explored inside-out. Sure, MOST ideas have. But in an era where pointing out our collective sins — be it racism or male toxicity or purported transphobia — has become the trend, the norm, would it not be refreshing to see films about how we all are, you know, human and perhaps find the beauty in our differences? While I appreciate the craft and palpable love for cinema displayed in “The Royal Hotel,” I look forward to Green switching her thematic gears a little.
In Theaters Friday, October 6th
