“This is America. 85 percent of holes I patch are gunshot wounds. ” You have to see Jodie Foster’s laconic facial expression between being annoyed and exhausted to appreciate bilious humor. Foster looks twenty years older, she plays “sister” who runs a hospital for injured criminals in Los Angeles of year 2028. Only members of exclusive club are admitted, an implant in wrist grants admission through a security lock – and if you don’t sprint, you get to do it with medical assistant in emergency room, which is what he looks like: Everest (Dave Bautista) . The clinic is an urban legend in Civil War rocked Los Angeles. Since government has put off water supply, last distribution fights are raging on road. Los Angeles has no water and here it rains assholes, sighs sister to a regular. A normal working day.
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The film Hotel Artemis, directed by Debütanten Drew Pearce, joins a whole list of genre films, which last supremacy of Blockbusterkinos, whose aestics and stories are becoming more and more homogeneous, want to hold back something like its own handwriting. Pearce, a Brit in Hollywood, is no longer an unknown. It comes from author hell of film industry, in which highly paid writers think of palliative plots, which n have to act as a delicate pretext for computer generated special effects and action Tableaus. In his portfolio, Iron Man 3, as well as fifth part of Mission: Impossible, are all too understandable, so that as a Hollywood newcomer you don’t want to be worn out right at beginning of his career in franchise treadmill.
Hotel Artemis does not even claim to be very big litter. It has more style than substance, but it is so robust that 94 minutes redeem top priority of a B-movie: You should not be bored. Pearce borrowed his plot from western: a state of siege. The genre-maestro John Carpenter has realized a similar scenario with assault on Precinct 13 with a much lower budget. But premise remains same: trapped must defend fort against Besieger during one night. Everyone wants to be pure: petty criminals, police, gangster boss Wolfking (Jeff Goldblum), who combines a common past with “sister”. Everest is full of hands. As a bouncer he is just as good as an assistant during an emergency-op.
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The concept stands and falls with ensemble that has barricaded behind armored walls. And that’s dazzling. Charlie Day plays a sleazy arms dealer, Sterling K. Brown is recommended as a street savvy bank robber for bigger tasks, his bror being shot is played by Brian Tyree Henry (Paperboi from Atlanta series). But y are all surpassed by trained dancer Sofia Boutella (The Mummy) as an assassin with melee experience. May your Hollywood, please, finally give a lead role, it is long overdue.
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Jodie Foster is playing in his own league anyway. As you slouches through corridors of your decaying Art Deco palace to provide fallen angels in burning City of Angels, equipped only with a medical suitcase and a children’s cassette recorder, which plays songs from a better time, has something touching. I don’t know why she just returned for this movie from her cinematic sabbatical, but Foster gives hotel Artemis a Gravitas that perfectly matches crumbling facades of this used future.
