The Man Who Killed Hitler and Then the Bigfoot

...and end up watching this pretty slow paced drama about a extraordinary man living an extraordinary life.

Sam Elliott is as good as he's always been, leading almost by himself this film, that's has quite the Forrest Gump feel to it. More than a movie, it is a tale.

Pretty classic in its narration and image, "The Man That Killed Hitler and Then Bigfoot" surprises by the atmosphere it gives, the sadness of its character and the world he lives in.

A good film.

Great first half, even if it does bounce around a lot between timelines, though unfortunately that becomes a little tiresome the more the film goes on. Sam Elliott is fantastic, and he is truly the perfect actor for this role; I award this a 6.5/10 solely based on his performance, in a film that isn't quite sure what it is supposed to be, though ends up being more of a drama about a tired old man than anything else.

Regardless of what the title may imply, 'The Man Who Killed Hitler And Then The Bigfoot (2018)' isn't a campy, perhaps 'Nazi experimentation' based, B-movie. Instead, it's primarily a character study, a mediation on murder that, refreshingly, paints the experience as negative regardless of who received the bullet. Yet the piece is never quite sure what it is or what it truly wants to be. The two almost totally separate things I've just mentioned (schlocky B-movie and serious character study) seem to be fighting for screen-time. This, of course, creates an inconsistent experience. Sometimes it's great, sometimes it isn't. The quieter, more contemplative stuff is the most successful; it's an interesting take on an oft-wondered 'what if?'. Sam Elliot is generally fantastic in the lead role, delivering on the surprising nuance of his character with his typically 'all American' charm. Aidan Turner does a good job as his younger counterpart, too - although, he really can't pull off the moustache. The rest of the cast are typically decent but a few key players don't quite pull off what they need to. The design of the eponymous 'Bigfoot' is also bizarrely squirrel-like and evidently low-budget. Indeed, the action-based segments featuring it are the worst in the entire affair, even if they do connect thematically to the much better drama stuff. It's almost a shame that 'Bigfoot' is even involved, as the flick could've been a subversive look at war-time violence and a man who almost regrets doing what most people seemingly dream of. If a steadier hand where on its wheel, the film could've been a cult classic. As it is, though, it's just fine. It's good enough but nothing more, bogged down by a strange structure and an uneven tone. It mightn't be what most people expect, but I'm glad that it isn't. 5/10

This is not the movie you might reasonably have expected from the title - while both killings are part of the movie, they play second fiddle to the story of a man who has sacrified everything for what he believes is in service of the greater good.

Really took me by surprise, Sam Elliot really delivers a superb performance, which is pretty much what the movie hangs on.

Yes, it's a bit bizarre to have a movie where the assassination of Hitler and killing of Bigfoot - by the main character - are mere sidenotes in a slow-burn character study....

But it worked for me, I can see why it wouldn't for others, but it's genuinely a good movie and not the b-movie schlock-fest the title implies.

It has taken me a long time to decide how I feel about this flawed but fascinating movie. On the one hand, kudos to everyone involved for committing to a quirky heartfelt, genre-defying labour of love. On the other, there are swathes of one-star reviews on Amazon from people who feel short-changed and I've some sympathy with them. But not much. Perhaps the title wrong-footed them, but some of them seem to have missed the point entirely. Where to start? Spoilers are almost not a problem, because it does exactly what it says on the tin. The man, Calvin Barr (Sam Elliott) kills Hitler and then the Bigfoot. What is more interesting is what falls into the gaps in between. This is a slow-burning movie about regret and loss, as Elliott's character reflects on the killing of a monster and the realisation that while he can kill the man he can never destroy his poisonous ideology. The sacrifice he made to do so, in losing his young love, is something he must now feel was hardly worth it, with the far right on the march in the States and the erosion of common decency, which Sam Elliott so perfectly embodies. The scenes with the younger version of his character, played by Poldark's Aidan Turner (who more than passes for a young Sam Elliott) are among the most striking and poignant in the film. You almost wish director Robert Krzykowski had left it there. The later Bigfoot scenes seem clumsy and pointless, unless you buy into the symbolism. There's plenty of it and it always leaves you wondering. Better take it as the story of an old man wrestling with his demons, rather than a literal scrap with an actual monster. Special effects on this are almost comically bad, but deliberately so, as if the story's interests lie elsewhere and doesn't want us too caught up in the drama. The performances are universally great. Ironic that Elliott was Oscar-nominated for A Star is Born the same year, while this little gem of a performance slipped under the radar. Caitlin FitzGerald does her best with an under-written female lead, while Aidan Turner (scarily sexy in an S.S. uniform) shines as the diffident young man who killed Hitler. Ambition is no bad quality in a director and this is Robert Krzykowski's debut feature. You can't help but feel his reach may have exceeded his grasp on this. By all means watch and be bemused, or moved. But in either case, learn to pronounce Krzykowski, because this is a name to watch.