The Man Who Killed Hitler and Then the Bigfoot Review
The Human Who Killed Hitler and So The Bigfoot, 2019.
Written and Directed by Robert D. Krzykowski.
Starring Sam Elliott, Aidan Turner, Caitlin Fitzgerald, Larry Miller, Ellar Coltrane, Sean Bridgers, Rizwan Manji, Mark Steger, and Ron Livingston.
SYNOPSIS:
A legendary American war veteran is recruited to hunt a mythical animate being.
Less near killing Hitler and Bigfoot, author and director Robert D. Krzykowski's bizarre genre mashup debut feature, tantalizingly titled The Human Who Killed Hitler and So The Bigfoot, is first and foremost a character study of an aging World State of war Two veteran having flashback recollections of the all-of import heroic duty that ended up causing complications with subsequent phases and different areas of his life. It too helps that this former special operative is played past none other than all-time great grapheme player Sam Elliott (at the time of this writing Oscar nominations have not been revealed, but so far the route has seen him shafted out of All-time Supporting Role player bids and victories for his powerful work in A Star is Built-in).
Trust me, I'm fully aware that the title is supremely empty-headed and gives off vibes of a brain-dead action moving-picture show in the vein of Crank or something, only Robert D. Krzykowski takes the straight-faced arroyo and makes the story piece of work, commenting on everything from mortality to tragically lost life fulfillment to terrifyingly realistic interpretations of Nazi-ism that all the same resonate whether information technology's the 1987 present day of the film or our current societal landscape. And fifty-fifty if Sam Elliott'due south Calvin dispatches some thugs after another night of heavy drinking (he likewise decides to quit the addiction upon leaving the pub) initially delivering the impression that this will be the goofy and nonsensical action run a risk moving picture the premise seemingly promises, there'south an undercurrent of drama whether he's stumbling into the night finding his manner home or reminiscing almost the day he infiltrated the location of Hitler for some one-on-one time and the opportunity to shoot him point-blank with a certain unique firearm derives from multiple gadgets.
Aidan Turner also deserves a great bargain of credit for portraying a much younger version of Sam Elliott (the spy that kills Hitler) subtly; he rarely, if ever, is given any loud dialogue readings presumably because information technology'due south easier to somewhat mimic the undeniably legendary and distinct commanding gruff vocalism of Sam Elliott quietly, and is given scenes reverse a schoolhouse teacher named Maxine (Caitlin Fitzgerald) whom he is securely in beloved with. The fallout from the mission to take out Hitler and this burning romance are heartbreakingly connected, containing quite a few emotional exchanges founded upon the pain of regret. Forget Hitler and Bigfoot (although, I promise you volition get your money's worth), this is a film about sacrificing love and personal fulfillment in order to fulfill heavy responsibilities to one's state. What the script does with the fallout from Hitler's death only adds to these complexities and eventual suffering.
There are also a few lengthy segments with other pocket-sized characters, ranging from Calvin's brother (his only remaining contact as he lives out his final days), a superstitious barber that believes in curses (I'm certain y'all could clarify this scene for days in terms of how information technology possibly ties into the rest of the narrative), and both regime agents from the United States and Canada knocking on Calvin's door to take a meeting about none other than the plague Bigfoot is unleashing on the world and how just Sam Elliott is a badass enough dude to save the solar day. All of this is ludicrous and shouldn't work at all, but it does.
Without spoiling much, one time Calvin suits up and selects some high-powered weaponry to take on Bigfoot, the tone obviously shifts to a degree but retains the adult-oriented dramatic edge leading upwards to the slugging contest. Y'all're going to run across Bigfoot grotesquely puke all over Sam Elliott, ensuing laughter and possibly some of your own vomit (it'southward likewise worth noting that the special effects are appropriately low-key and remarkably executed by two-time Oscar winner Douglas Trumball), only you're also going to see a man cope and struggle with the nature of taking lives, man or fauna. There are as well some gorgeous vistas and beautifully composed cinematography that assistance further bulldoze these themes home.
Every bit much as I would take liked to see the human relationship dynamics between Calvin and Maxine developed more (the full corporeality of emotion is not reached from the ending, although it's nonetheless strongly meditative material worth contemplating after the credits), Robert D. Krzykowski probable has the right idea by taking a minimalistic approach to the subplots and characters. And I must admit, I would have enjoyed an even longer confrontation between Calvin and Bigfoot. After all, this is still a movie about the ridiculous notion of one human killing both Hitler and Bigfoot, merely it works then surprisingly well that information technology'southward hard to not want to learn more about Calvin's inner torment and have a little scrap more excitement. Withal, come up for the demise of Hitler and Bigfoot, stay for the ever incredible character piece of work from Sam Elliott.
Flickering Myth Rating – Movie: ★ ★ ★ ★ / Moving-picture show: ★ ★ ★ ★
Robert Kojder is a fellow member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check hither for new reviews, friend me on Facebook, follow my Twitter or Letterboxd, check out my personal non-Flickering Myth affiliated Patreon, or email me at MetalGearSolid719@gmail.com
Source: https://www.flickeringmyth.com/2019/04/movie-review-the-man-who-killed-hitler-and-then-the-bigfoot-2019/
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