Hotel Artemis

Maybe it's just me but I've not heard any buzz surrounding this movie and with the actors involved I figured it was due to its lackluster entertainment value. Not only was I surprised, I thoroughly enjoyed it from start to finish and highly recommend it.

I won't say that the movie is a blockbuster material but itvwas fun to watch it. the concept is interestingly fresh and screenplay is gripping enough to keep the audience on the edge of their seats. good momentum.

Greetings again from the darkness. The feature film directorial debut of Drew Pearce is original and clever, while teasing with hope for a bit more than it delivers. Mr. Pearce is best known for writing the screenplay for IRON MAN 3, and now as a first time director, he shows enough promise to leave us interested in what comes next.

The film is set in dystopian Los Angeles a mere 10 years in the future. The streets are flooded with desperate rioters after a mega-corporation shuts off the clean water supply. The company is the film's real villain, and the only one that The Nurse (Jodie Foster) can't treat. See, she runs Hotel Artemis, an underground hospital for top tier criminals - the element that can't just pop into the local community clinic for treatment on the latest bullet hole or knife wound. These patients follow a subscription plan and must stay current on their dues to gain admission.

The Nurse forgoes any attempt at personal vanity and is instead an agoraphobic, booze-chugging, (mostly) stick-to-the-rules type, who pops in anti-anxiety tapes and ear buds whenever her pulse quickens. She has run the place since it opened 22 years prior and is assisted by a mountain of man named Everest (get it?) played well by Dave Bautista. He's a combination bodyguard, bouncer, handyman and assistant healthcare professional (check his badge).

The set design by Ramsey Avery deserves special mention as the Hotel Artemis is quietly housed in the shell of a former grand art deco hotel, now a victim to the city's carnage - though the neon sign remains illuminated. Its vacation spot-themed rooms are a sight to behold, despite the frustratingly low lighting. Occupants are incognito and use their room names as identifiers. Sterling K Brown is Waikiki, a philosophical bank robber who dragged his brother Honolulu (Brian Tyree Henry) here for treatment after a heist went wrong. Acapulco (the always energetic Charlie Day) is a crass, motor-mouthed arms dealer, while Nice (Sofia Boutella, THE MUMMY) is a freakishly skilled assassin.

The stress level picks up when the biggest crime lord of Los Angeles shows up seriously wounded. Known as The Wolf King, an admittedly bad choice for a nickname, Jeff Goldblum brings some smooth-talking toughness, humor and twisted class to the proceedings. More than a few tentacles are attached to The Wolf King and other folks we've previously met, not the least of which is a very special ink pen stolen by Honolulu. Mix in an injured cop (Jenny Slate) with a personal link to The Nurse and her constantly alluded to tragic backstory, and the movie puts off a Graphic novel vibe ... missing only the off-the-cuff insanity. It's just a bit too grounded for its own good.

The high tech/low rent feel forces us to recall BLADE RUNNER AND ESCAPE FROM NEW YORK, but of course, this film isn't at the level of either, as it lacks top tier suspense. It is a terrific reminder of what a talented actress two-time Oscar winner Jodie Foster is, and what a shame that we haven't seen her in such a substantial screen role since 2013's ELYSIUM. She really sinks her teeth into this odd character, and more than the action scenes, she keeps us interested the entire run time. The score is a bit too heavy on the droning electronic bass line, and while the Florida joke and nod to John Phillips (The Wolf King, "California Dreamin'") earns some bonus points, it's really the performance of Ms. Foster and the set design that saves a too-safe script.

In a dark version of the future the streets are violent and the police corrupt. The hotel Artemis is a haven where wealthy people of a dubious nature can get themselves patched up.

The idea sounds great and the star of the show should be the hotel. I expected the hotel to be some kind of interesting ecosystem where the privileged and the scum of the underworld are forced to rub shoulders.

This happens to a small extent but the film concentrates more on the characters, which would be OK if the characters weren't so lame.

After twenty seconds of dialogue you know exactly what each character is about and you can predict if, when and how each one will die. **What you mean the sexy fem fatal isn't a helpless bimbo but is in fact a one woman army in stilettos! Well blow me down!**

Jodie Foster is (predictably) awesome and has the only character of any merit. Everyone else talks poo for a while, killing time until the inevitable fight at the end.

This is not a bad movie, it just sounded like it would be something different but is actually a hash of a cheesy, generic 80/90's Sci-fi flick that could easily have stared Van Damme.

The production is pretty good and there is some fun to be had here it is is just painfully predictable and feels tired.

It's 2028 L.A. Waikiki (Sterling K. Brown) leads a robbery gang during a city-wide revolt against privatized water. His brother is shot during the escape and he seeks refuge at Hotel Artemis. It is a secured private hospital for criminal members run by a hard-nosed nurse (Jodie Foster). Everest (Dave Bautista) is her giant muscle. She risks everything by saving policewoman Morgan (Jenny Slate). Other patients include loud-mouth arrogant Acapulco (Charlie Day) and assassin Nice (Sofia Boutella) on a secret mission. Waikiki discovers that his brother had stolen jewels from crime boss Wolf King (Jeff Goldblum) who shows up looking for treatment.

I really like the concept but there are issues with the execution. It's a movie of outrageous potential. With a few questionable logistics, my biggest problem is that I don't feel connected with Sterling K. Brown's character. Jodie Foster is doing her hardest. Despite some fun ideas, it doesn't really rise to its possibilities. It's not crazy enough. It's not compelling enough. It is good enough to be watchable.