O Homem que Matou Hitler e o Pé-Grande

This is a movie with the most campy title and premise that is more character-driven drama then guilty b-movie action entertainment. Its surprising prestige that elevates its genre setting comes a lot from Sam Elliot's performance and director Robert D. Kryzowski's focus on the emotional weight of the protagonist's journey.

Elliot carries this strange absurd premise as Calvin Barr, a retired veteran living in solitude. As the man who assassinated the titled Nazis leader in secrecy during WW2 (played by Aiden Turner as the young Calvin), he feels regret that his mission mattered very little to world while the love of his life, Maxine (Caitlin FitzGerald) had to move on herself when he returned home. When an American agent (played by Ron Livingston) asks for Calvin's skills and service to kill the titled creature to prevent it from spreading humanity-ending disease, it becomes a catalyst for Calvin to find some form of redemption to give purpose in his life. Elliot doesn't just rely on his usual charm and charisma but shows vulnerability in his character's state of mind. From moments where he breaks down into sadness when thinking about the life he could have had or being forced to inflict harm on another thing, we are shown that Calvin is not the war hero that lived a happy life but instead is this old warrior fading away into nothing more then a myth that glorifies his violent actions. And it surprisingly fits thematically when the film explores him killing Hitler and the Bigfoot (as the title says so not a complete spoiler). The two well-known figures are interpreted in ways one would not expect as Hitler's evil was more powerful and contagious then history described and Bigfoot is seen less as a classical movie monster but as this damaged being in pain much like Calvin is internally. You still get a memorable bloody fight between Calvin and the legendary creature (even if gets too silly) but by the end you feel the tragedy for both Calvin and the Bigfoot.

Outside of Elliot's performance and his character's journey, the movie does have weak aspects. When it tries to embrace its b-movie cheesy elements they feel forced and distracting to the point it hurts the serious weight the story has built. While the film doesn't spend too time much trying to justify or explain its ridiculous plot, the slow pace can feel like its dragging even near the end. Plus the music felt like it was from a 90's hallmark soap opera that didn't feel like it fit. As silly as this movie gets, I never felt it was trying to entertainment me with cheap thrills. Elliot's awards-worthy performance and its examination on the glorification of myth and history made for an engaging piece of dramatic art to analyze and appreciate. Give this movie a watch. It will certainly be a memorable and surprising experience even if gets too crazy for its own good at times.

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

...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.

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.

With a title such as this it is wholly reasonable to wonder what this movie is about. I think some will still be wondering after watching it. It's definitely subjective I guess. What we do know is Sam Elliott plays a man who lost the girl due to a lot of circumstances along his life's path. I think his melancholy is due to that. He is living with regret. He has a keepsake box which must be very symbolic of it. It is dear to him, but he just can't get to the point of opening it. I'm not sure what is actually in it, but I have an idea which I'll just keep to myself as I think the interpretation of it is a big thing in the movie and it may be different things to different viewers.

A story such as this could have been done much more straightforward and I imagine many would rather see Sam in that role. It seems the writer and director is going for an artistic vision that not everyone will appreciate. It's clear in spite of the title and the events direct to it this is not a comedy or satire. It's something along the line of a man can achieve some very unbelievable things and suffer from giving up the personal important ones. He can be brilliant, smart, strong, and kind - even conquering and be lonely as he would rather not find himself one day with regrets that can't be reconciled.. This kind of story could have been simple and linear of course, but then we wouldn't have the title...and the artiness a few will enjoy.

This film, then, is only for those few, who will find the art in the telling of conventional late life regret in the most obtuse way here. Sam Elliott, as wonderful a treasure as he is, can't make it a great ride for everyone. But, he comes close even with the events the title alludes too taking a calculated left turn.