(spoiler free)
From the opening moments of writer-director Kitty Green’s The Royal Hotel, it’s clear that her sophomore feature will continue the depiction of misogyny and male violence against women that she previously explored in her critically-acclaimed debut film, The Assistant (2019).
American backpackers Hanna (Julia Garner) and Liv (Jessica Henwick) are travelling across Australia together. Enjoying themselves on a bougie boat party, The Royal Hotel – in its very first scene – swiftly and subtly reminds audiences just how much, mostly unwanted, male attention women often receive in these kinds of spaces. Eventually, it’s the pair’s quickly depleting funds that cut their booze cruise short, forcing them to seek work to pay for the rest of their travels. However, with slim pickings on offer they find themselves working in a remote pub (the titular Royal Hotel) full of violent and misogynistic patrons.
Brushing off this vile clientele, their dingy living quarters and an unruly Hugo Weaving for a boss all as part of their epic Australian adventure, Hanna and Liv decide – despite the many, many red flags – to stick it out for a few weeks. And audiences have to do the same, as The Royal Hotel struggles to decidedly present itself as one thing or the other. Instead, it traverses a fine line between drama and thriller, being hesitant to fully commit to either. This reluctance favours a combination of genres that creates more of a cinematic slow-burn, but thankfully, one with several suspenseful sequences leading up to its more eventful finale.
These notable moments arise from the aggressive patrons and their abusive behaviour, which Green uses to create a truly deep sense of unease and dread on screen. As Hanna and Liv are forced to endure a barrage of unacceptable advances, unreasonable workplace demands and very real threats against their safety, Green expertly conveys the danger they’re experiencing. Her reunion with lead actor Julia Garner, who previously played the title role in The Assistant, is the predominant way she achieves this. Garner delivers a suitably layered performance; one consisting of fear, rage and exasperation, employing each just when she needs to. This versatile performance is indicative of the many unjust measures that women are forced to take in everyday life simply to feel safe.
Jessica Henwick’s Liv is less concerned with their situation, adding to Hanna’s difficulties. She effectively channels that young, happy-go-lucky energy, that whilst endearing, ultimately leads her into a vulnerable naivety, especially when it comes to the men frequenting the pub. Of this raucous crowd it’s Daniel Henshall’s Dolly that takes a particular shine to her. Henshall is excellent, proving capable of escalating scenes in an instant. He maintains the uncomfortable levels of tension he reaches, painfully stretching seconds into minutes for prolonged periods of time. Toby Wallace of Babyteeth (2019) fame performs similarly well. He uses his charm to inject a deeply unnerving element to his character that offers the characters and audience the falsest sense of security.
However, for all its accomplished performances and well-crafted tension, The Royal Hotel is sadly somewhat one-note. It certainly gets its message across clearly: men are bad, no matter where in the world you are. But beyond effectively communicating this straightforward, but well worth repeating point, the film doesn’t offer a whole lot else. The thrills and (beer) spills on either side of the bar keep things engaging, but it doesn’t have the audacity to say anything more profound. It’s a little bit like a good night down the pub: enjoyable in the moment, but you might not remember much of it come the morning.
Written by Hamish Calvert
★★★
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