movie reviews royal hotel

The Royal Hotel

In her debut narrative film, the workplace horror " The Assistant ," writer/director Kitty Green took the most ordinary setting and made it a tense, nauseating psychological thriller. Pairing again with Julia Garner , her follow-up "The Royal Hotel," co-written with Oscar Redding , plays like a Gen Z twist on the Australian classic " Wake in Fright ."

While Green and Redding's initial inspiration was the 2016 documentary "Hotel Coolgardie," which explored the volatile sexism faced by twenty-something Finnish packbackers who came to work in an isolated pub near a mining town in the Australian Outback, there is equally as much of Ted Kotcheff 's 1971 cult film in its DNA. Similar to how "Wake in Fright" explores the tumultuous, violent, and frenzied alcohol culture of the Outback from the point of view of a mild-mannered male school teacher ( Gary Bond ) who slowly succumbs to its madness, Green sets her focus solely on how this violence, which can manifest physically, emotionally, and psychologically, affects the well-being of young women.

Garner plays Hanna, who is slightly more responsible than her bestie, Liv ( Jessica Henwick ). The duo, who claim to be Canadian because "everyone loves Canadians," are on holiday in Australia when they become strapped for cash due to Liv's spending (and most likely her drinking.) They take a temporary live-work job at the titular Royal Hotel, a desolate, faded pub that takes a train, a bus, and a very dusty car ride to get to. It's the only waterhole for miles—it appears to be the only building within a few hours' drive.

The pub is run by owner Billy ( Hugo Weaving ) and his sometime partner Carol ( Ursula Yovich ), whose own bittersweet relationship is punctuated by bursts of violence. Weaving deftly walks that fine line that high-functioning alcoholics often find themselves on, between someone rough but charming and someone who is terrifyingly violent. Yovich plays Carol as a woman who has made a prickly peace with her situation. There was probably love once there between her and Billy, but now she's mostly there to keep him from drinking himself to death and keep the crusty hands of the mine workers off the girls he hires to keep the pub open.

The fraying relationship between Hanna and Liv is tested further as they become friendly with the locals. There's Matty ( Toby Wallace , bringing the same natural dangerous charm he did to his breakout role in " Babyteeth "), who has a sweet spot for Hanna. There's Teeth ( James Frecheville ), whose bumbling sweetness hides a troubling obsessiveness. And there's Dolly ( Daniel Henshall ), whose menacing gaze at the end of the bar gives him the air of a lion waiting out his prey.

While Liv embraces the men's work-hard, party-hard mentality, Hanna remains more reserved, always aware of the danger lurking behind a drunken man's charm. "My mom drank," she says at one point, the pregnant pause indicating she's seen her fair share of how alcohol can change someone in an instant. Even when she does let her guard down a little, her thoughts are always on Liv's safety and the perilous situation they've found themselves in.

Again, like "Wake In Fright," Green teases out the tension slowly. At first, everyone's drunken revelry is just overly boisterous. A glass broken out of careless abandon. A cruel joke told for a harmless laugh. A firecracker in the distance lighting up the night. She fills the frame with happy bodies in motion, laughing, joking, and drinking as the only entertainment in town. But slowly, the situation becomes more threatening. A large, drunken man in the hallway staring into their bedroom. An insult hurled with the cutting force of a sharpened blade. A chair thrown in controlled, intimidating violence. The bodies in the frame grow more numerous, their laughing and movements more ominous and brutal.

While Green excels in building the social economy of this world and is a master at slow-burn tension, not all of the characters work. Garner, Weaving, Yovich, and Wallace all find deeper psychological layers to their characters through body movements or certain knowing looks. Unfortunately, what makes Hennwick's Liv tick never quite comes into focus. She makes one terrible decision after another, but other than a line about Australia being the furthest away she could get from her home, the film never spends enough time focusing on her for any of it to make emotional sense. It's also never very clear how, or sometimes even why, Hanna and Liv are even friends.

Despite this and an abrupt ending that cheapens the richly drawn complexity that came before it, "The Royal Hotel" remains a chilling and tense examination of the Outback's toxic alcohol-fueled culture. Green continues to establish herself as an insightful chronicler of the minor yet devastating terrors of violent masculinity that many women endure everywhere they go.

This review was filed from the 2023 Toronto International Film Festival. "The Royal Hotel" opens in theaters on October 6th.

Marya E. Gates

Marya E. Gates is a freelance film and culture writer based in Los Angeles and Chicago. She studied Comparative Literature at U.C. Berkeley, and also has an overpriced and underused MFA in Film Production. Other bylines include Moviefone, The Playlist, Crooked Marquee, Nerdist, and Vulture.

Julia Garner as Hanna
Jessica Henwick as Liv
Toby Wallace as Matty
Hugo Weaving as Billy
Nick Slater as Lifeguard
James Frecheville as Teeth
Kasra Rassoulzadegan
Kitty Green
Oscar Redding

Cinematographer

Michael Latham

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‘The Royal Hotel’ Review: Pulling Pints and Watching Their Backs

Two young women struggle to handle the obstreperous patrons of a remote Australian pub in this coolly calibrated thriller.

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Two women stand at the wooded railing balcony of a building.

By Jeannette Catsoulis

We are barely 12 minutes into Kitty Green’s “The Royal Hotel” before the first C-word is dropped, but it isn’t gratuitous. The film’s language, dominated by the braying of obnoxious, bellies-to-the-bar boozehounds, is both spice and thickening agent in its pervasive mood of clammy menace. Our reward for enduring this relentless churn of apprehension is not the one we anticipate.

Teasing expectations — to some viewers’ ultimate disappointment, no doubt — is much of what this keenly calibrated thriller is about, the familiarity of its setup raising our most bloodthirsty horror-movie hopes. Place two young, attractive female backpackers in a forlorn mining town somewhere in the Australian Outback; surround them with sex-starved, boorish miners; allow them no access to cell service or reliable transport. Their ensuing trials are a cyst that Green and her co-writer, Oscar Redding, take their sweet time to lance.

Until then, we must gnaw our fingernails as Hanna and Liv (Julia Garner and Jessica Henwick, both terrific) refresh their finances by working as live-in bartenders in the titular establishment. The hotel’s dilapidation — to say nothing of its grubby, grabby, mostly male clientele — is a far cry from the yacht parties the women were recently enjoying in Sydney. The bar owner (an indispensable Hugo Weaving) is a raging alcoholic, yet his girlfriend (Ursula Yovich) seems kind and possibly protective. And while one regular (Daniel Henshall) is frankly terrifying, another (Toby Wallace) is so clean and cute that his off-color humor is easier to ignore. At what point should the women feel alarmed enough to leave?

That question haunts every frame of a movie that persistently taunts us with the likelihood of male violence, its blasted landscapes and aura of desolation pumped relentlessly by Michael Latham’s brooding cinematography. Green, in her second collaboration with Garner (after the similarly themed — if significantly less raucous — “The Assistant” in 2020 ), is proving a cool chronicler of workplace abuse and the kind of harassment that disguises itself as harmless fun. Sometimes a woman’s only defense is to trust the pricking skin and spasming gut that warns her otherwise.

Inspired by Pete Gleeson’s 2016 documentary about two Finnish backpackers, “Hotel Coolgardie ,” “The Royal Hotel” is after something more subtle than pure horror. In its destabilizing presentation of men whose motivations appear to shift from scene to scene — the women’s fun-loving English predecessors seem genuinely sorry to leave — it places the audience on a knife edge. This, along with the general drunkenness and the bar’s oppressive gloom, can be exhausting; but Green, filming for the first time in her native Australia, displays such a sure hand with the movie’s tone that even her brief slips into genre cliché (like a surprise snake and a convenient storm) inflict minimal damage. Her overtly feminist climax, though, feels more problematic, a betrayal of the movie’s carefully drawn ambiguities and concern for its more vulnerable characters. Hanna and Liv were never looking for a fight; all they really wanted was to see some kangaroos.

The Royal Hotel Rated R for female skin and men with a skinful. Running time: 1 hour 31 minutes. In theaters.

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The Royal Hotel Reviews

The discomforting nature of its delivery may divide certain audiences, but the observations it makes in regards to male behaviour is as powerful as it is maddening to those who recall similar experiences.

Full Review | Original Score: 4/5 | Jul 19, 2024

with two narrative features under her belt, both as striking and as sharp as a shattered whisky bottle, Green is a filmmaker one should take notice of...a thriller where respect is more scarce than water in the drought-ridden town

Full Review | Original Score: 4/5 | Jul 4, 2024

While cleverly giving the story a crowd-pleasing finale, Aussie director and co-writer Kitty Green’s take just never quite engenders the same sense of voyeurism – or nausea – that made the documentary Hotel Coolgardie such unforgettable viewing.

Full Review | Apr 28, 2024

While not a complex story, it is developed with Kitty Green's firm hand, who draws a persuasive atmosphere from the main setting... [Full review in Spanish]

Full Review | Original Score: 3/5 | Mar 19, 2024

Kitty Green successfully directs a thriller that confuses and surprises, is suffocating as well as refreshing, and has a very outstanding performance by Julia Garner. [Full review in Spanish]

Full Review | Original Score: 3.5/5 | Mar 12, 2024

The Royal Hotel constantly flirts with the 'rape and revenge' genre but never crosses that line. And that is quite fortuitous. [Full review in Spanish]

Full Review | Original Score: 4/5 | Mar 12, 2024

This small, isolated society is delicately balanced on the cliff edge of a canyon of chaos. When it finally falls off, it is not unexpected, but, even so, the final events are not what I was expecting.

Full Review | Original Score: C+ | Jan 27, 2024

As a whole, the film feels a bit undercooked, but even if the energy is heightened, scenes remain grounded in edgy realism.

Full Review | Original Score: 3.5/5 | Jan 16, 2024

It's a thriller about female safety and empowerment.

Full Review | Original Score: 3 stars | Dec 29, 2023

A movie which marinates in misogynist threat like many a thriller, but without the usual familiar genre touchstones.

Full Review | Dec 26, 2023

We get a rather disconcertingly janky ending which feels like a ninety-minute non-sequitur, especially after hinting at something tangible, some reveal or purpose.

Full Review | Original Score: C- | Dec 10, 2023

‘…as dingy and off-putting at the building itself, The Royal Hotel is no-one’s favourite film, but it does what The Assistant does, by crystallising a female POV that’s too often been the starting point for a narrative about male heroism or revenge….’

Full Review | Original Score: 3/5 | Dec 7, 2023

While it may not conclude on the strongest note, Green creates an environment that gets more physically and psychologically perilous from our protagonists while steadily getting more unnerving for us.

Full Review | Original Score: 3/5 | Dec 6, 2023

It's no Wake in Fright, but that's hardly a criticism.

Full Review | Original Score: 3/5 | Nov 28, 2023

The balance between realism and abstraction isn’t maintained quite until the end, which is effective in its way, but less than a fully convincing resolution to what has come before.

Full Review | Original Score: 3/5 | Nov 27, 2023

It is the women’s slow disintegration from with-it to without-a-clue that draws the clinical focus of filmmaker Kitty Green (The Assistant), and results in a solid number of powerfully uneasy scenes.

The Royal Hotel, for the most part, is a gripping, tense Thriller that shines when exploring the dynamics of its two flawed characters and their response to their predicament.

Full Review | Original Score: 3/5 | Nov 25, 2023

Like pickled eggs and breakfast schooners, the ethos of hard-core drinking tends to be an acquired taste.

Full Review | Original Score: 3/5 | Nov 24, 2023

A fantastic, gut-churning chiller that, like Wake in Fright and Long Weekend before it, pierces the Australian national identity with the ferocity of a pick in ice.

Full Review | Original Score: 4/5 | Nov 24, 2023

Strong start, great build-up, weak finish. That’s the most concise and accurate way to describe The Royal Hotel, the latest in a long stretch of Australian films to demonstrate the importance of having a compelling third act by essentially not having one.

Full Review | Original Score: 2/5 | Nov 23, 2023

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‘the royal hotel’ review: julia garner and jessica henwick in kitty green’s bruising outback drama.

Two American backpackers sign on as temporary workers at a remote Australian pub in a narrative feature inspired by a documentary.

By Sheri Linden

Sheri Linden

Senior Copy Editor/Film Critic

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Four years after director Kitty Green and actor Julia Garner channeled whispers and silence into the stuff of workplace horror in The Assistant , they reunite for a movie that turns up the volume and ratchets up the fear and loathing. Way up.

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‘The Royal Hotel’ Review: Julia Garner Fends Off a Town Full of Horny Miners in Kitty Green’s Harrowing Outback Thriller

David ehrlich.

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Editor’s note: This review was originally published at the 2023 Telluride Film Festival. Neon releases the film in theaters on Friday, October 6.

The good news is that Garner’s character isn’t alone; Hanna’s on an open-ended vacation with her friend Liv (Jessica Henwick) when the two run out of money on a party boat in Sydney and decide to sign up for the last Work & Travel job available. The bad news is that Liv is about to be Hanna’s only ally for a few hundred miles in any direction, and she tends to become more of a liability than a safety net after a few drinks. The lady at the job office warns these wayward American girls that they might have to put up with some male attention, but that would be like the owner of the Overlook Hotel warning Wendy Torrance that she might have to put up with a mild case of writer’s block.

And so the stage is set for Green to stage another masterfully constructed pressure cooker about the perils of being a woman on planet Earth, this one much pulpier and more visceral than “The Assistant” (which was a veritable chamber piece), but no less exacting in how it conveys the constant threat assessment required for a girl in Hanna’s situation to make it safely through the night. By the end of her first shift behind the bar at The Royal Hotel, an elaborate matrix of lust, expectation, and entitlement has already been established between Hanna and some of the bar’s regulars. By the end of her second week there, every beer she’s asked to get a particularly terrifying miner — and every smile that she’s expected to serve along with it — has become as suspenseful as watching a truck full of nitroglycerine make a hairpin turn in “The Wages of Fear.”

Played by an abandoned pub in a town that has a population of 29 people, The Royal Hotel itself is more dilapidated than foreboding, and while its alcoholic proprietor might burst in on the girls when they’re trying to use the broken showers next to the bedrooms above the bar, Billy (an excellent Hugo Weaving) seems more like a nuisance than a threat. You get the sense that The Royal Hotel didn’t feel like an ironic name for this dump when Billy’s grandfather opened it all those years ago, but the bar — much like its begrimed current owner — now seems like the punchline of a cruel joke. Given his financial situation, Billy can’t even afford to ban patrons from the bar, which removes one of the only guardrails protecting Hanna and Liv from the clientele.

Besides, some of the local men seem harmless enough, even if they’re all circling the girls like hungry sharks with the scent of blood in their noses. Matty (“Babyteeth” breakout Toby Wallace, continuing to impress) is the nicest of the bunch, or at least the cutest. Sure, he’s an oaf like all the rest, but he loves Kylie Minogue and went to school for meteorology so who knows. There’s certainly more potential there than there is with Teeth (“Animal Kingdom” star James Frecheville), the resident “nice guy” who assumes that if he sits at the bar for long enough that one of the girls will belong to them. And Dolly (played by “The Babadook” actor Daniel Henshall), well he’s obviously the most dangerous of them all from the first time you see him.

By the time the movie is half-over we can already feel how the temperature changes when Carol or Billy enters the room, even if the mood only changes by a degree or two. When two out-of-towners sidle up to the bar looking for some champagne, a chill runs down your spine because you know they’re not supposed to be there.

Few movies have ever so palpably or intricately conveyed the violent pall of male attention, and the men here are that much scarier because not even they seem to know what they’re capable of doing, or what their endgame might be. The threat level is always in flux, which prevents this broadly familiar thriller from ever feeling as if it’s on rails. The movie is as fluid as a drunken night out (Henwick, who’s quickly becoming one of our most exciting young actresses, deserves all the credit in the world for bringing raw truth to Liv’s bad choices), and while The Royal Hotel might be dying before our eyes, Green ensures that the place still has a life of its own.

The more frightening things get, the more they tip into Western territory. That dynamic climaxes with an image so nakedly Fordian that you can feel Green’s film exploding out of the bar and straight into the stuff of myth. The specifics of Hanna and Liv’s situation might be strange and uncommonly nuanced, but this is a tale as old as time. The only thing these girls have the power to change is who gets to tell it; it’s a power that Garner’s character in “The Assistant” sorely lacked, and one that Green leverages here — in a far deadlier but more pliable environment — with cathartic glee.

“The Royal Hotel” premiered at the 2023 Telluride Film Festival. NEON will release it in theaters later this year.

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The Royal Hotel Review

“You’re going to have to be okay with a little male attention,” the agency worker says. Liv (Jessica Henwick) grins slowly, glancing at a straight-faced Hanna (Julia Garner). “Yeah, we’ll be fine,” Liv says, accepting temp work at a pub in the Aussie outback on behalf of them both, bolstered by the promise of seeing kangaroos. Hanna doesn’t seem so sure. She is, as you might expect, right to be reluctant.

From the second Liv and Hanna arrive at their new location, the atmosphere is unsettling. The sun beats down on the dry, dusty, endless brown landscape — just looking at it makes you thirsty. The lady who picks them up (Carol, played with quiet strength by Ursula Yovich) is brisk and unsmiling. Their living space is strewn with chaos generated by the British girls they’re taking over from. They’re yelled at by pub owner Billy (an almost unrecognisable Hugo Weaving) for turning the water on. This set-up is enough to put anyone at unease. But as soon as the doors open, that feeling ramps up, as a mob of rowdy locals, mostly men, descend on the bar — demanding drinks, yelling rude jokes, and telling the girls to smile.

There are flickers of joy amid the stress, found in a trip to a nearby swimming spot, sunbathing with booze in a box, and some tender romantic moments between Hanna and regular punter Matty ( Babyteeth ’s Toby Wallace). But mostly, The Royal Hotel is a stomach-churning slide into full-on dread, as the girls become more vulnerable, their working conditions more precarious, and the men’s attention and actions towards them start to cross a line. Director Kitty Green isn’t afraid to let the camera sit in the awkward moments, the heavy silences, and the increasingly fraught conversations between Liv and Hanna, as the latter tries to convince the former to leave. Green and co-writer Oscar Redding’s script perfectly captures the delicate nature of the power dynamics on display, and how the girls — particularly Hanna — have to swing between playing nice to stay safe and standing their ground.

Garner is the lead, and gives an incredibly controlled, convincing turn.

Liv and Hanna are in this together, but Garner is the lead, and gives an incredibly controlled, convincing turn as the protective, hyper-vigilant friend that has to keep their shit together. Henwick is excellent as the more easygoing, prone-to-attracting-trouble Liv, who’s clearly using travelling as a way to escape something back home that Hanna isn’t — and the sense that this pair have each other’s backs at all times deepens their characters in a way that doesn’t require excess backstory. Wallace is magnetic as a charming scoundrel, lovable until he isn’t; The Worst Person In The World ’s Herbert Nordrum is fantastically goofy as Norwegian party boy Torsten; and Daniel Henshall is absolutely bone-chilling as especially tricky customer Dolly.

This volatile concoction all comes to a crescendo — one that does deliver on shocks, violence and catharsis, but not quite to perhaps the level you might expect, given the physical and emotional state the preceding 80 minutes have put you in. The Royal Hotel manages to leave you wanting more while making you glad it’s over simultaneously. It’s at once frustrating in its quickness to end, and subversive in its unwillingness to let the men harassing Liv and Hanna have their way. However you feel when the credits roll, the exhilarating time spent in the film’s harsh, unforgiving world feels absolutely worth it.

COMMENTS

The Royal Hotel movie review & film summary (2023) - Roger Ebert
Green continues to establish herself as an insightful chronicler of the minor yet devastating terrors of violent masculinity that many women endure everywhere they go. This review was filed from the 2023 Toronto International Film Festival. "The Royal Hotel" opens in theaters on October 6th.
The Royal Hotel - Rotten Tomatoes
A chilling immersion into a place and time fraught with constant danger, The Royal Hotel reunites Kitty Green and Julia Garner to electrifying effect. Read Critics Reviews
‘The Royal Hotel’ Review: Pulling Pints and Watching Their ...
Inspired by Pete Gleeson’s 2016 documentary about two Finnish backpackers, “Hotel Coolgardie,” “The Royal Hotel” is after something more subtle than pure horror.
The Royal Hotel - Movie Reviews - Rotten Tomatoes
The Royal Hotel, for the most part, is a gripping, tense Thriller that shines when exploring the dynamics of its two flawed characters and their response to their predicament. Full Review ...
‘The Royal Hotel’ Review: Julia Garner in Kitty Green's ...
‘The Royal Hotel’ Review: Julia Garner and Jessica Henwick in Kitty Green’s Bruising Outback Drama. Two American backpackers sign on as temporary workers at a remote Australian pub in a narrative...
The Royal Hotel Review - IGN
A taut, terrifying smorgasbord of misogyny. The Royal Hotel is now playing in theaters. This review is part of our coverage of the 2023 BFI London Film Festival. There’s plenty to like...
The Royal Hotel Review: Julia Garner Owns a Harrowing Outback ...
‘The Royal Hotel’ Review: Julia Garner Fends Off a Town Full of Horny Miners in Kitty Green’s Harrowing Outback Thriller. "The Assistant" director Kitty Green re-teams with Julia Garner for...
The Royal Hotel Reviews - Metacritic
Summary Americans Hanna and Liv are best friends backpacking in Australia. After they run out of money, Liv, looking for an adventure, convinces Hanna to take a temporary live-in job behind the bar of a pub called ’The Royal Hotel’ in a remote Outback mining town.
The Royal Hotel Review – 'A mightily effective adrenaline ...
A slight but mightily effective adrenaline rush of a movie, with powerful performances all round and precise direction from Kitty Green.
The Royal Hotel critic reviews - Metacritic
Wall Street Journal. Oct 6, 2023. While the subject has been the province of clichés and exaggeration, the movie’s points are well-crafted, despite a wild Hollywood ending at odds with this indie offering’s otherwise gritty appeal. As it decries a social problem it adds layers and surprises.