#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Set in riot-torn, near-future Los Angeles, ‘Hotel Artemis’ follows the Nurse, who runs a secret, members-only emergency room for criminals.
Plot: Los Angeles, June 21st, 2028. While the streets are being torn apart by riots, the Nurse, who runs a clandestine hospital for criminals in the penthouse of the Artemis, a closed old hotel, has a rough night dealing with troublemaker clients: thieves, assassins, someone from the past and the one who owns the place and the whole city.
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|6.1/10 Votes: 47,226|
|6 Votes: 1047 Popularity: 28.818|
Aaaah near-future Los Angeles, will you ever be portrayed as anything other than a crime-ridden, riotous hellscape? Probably not. And honestly, I’m pretty okay with that. Either way, despite that being the exact setting of _Hotel Artemis_, it has surprisingly little impact on the tale, which takes place almost entirely within the titular hotel. It’s good, and everyone is good in it, plus you’ve got the #aesthetic to take into account, which all in all is more than enough for me.
_Final rating:★★★½ – I really liked it. Would strongly recommend you give it your time._
**_Aesthetically pleasing, but the narrative is predictable and clichéd_**
> _There’s an interesting thing that runs through the movie, which is that there’s this…So what happens in_ Artemis _is that it’s set mostly inside this secret hospital for criminals in Los Angeles in 2028, and it’s about what happens when the wrong mix of people end up in that hospital, but all the while there is this backdrop of the biggest riot in LA history, the clear water riots, which are water based, drought based riots, water privatization riots in fact. I really wanted this thing where all the way through_ _the film, we are led to believe by the media in the movie and by the way some of the characters talk about it, that we’re safe in here in the place that we pay for, and the trouble is this kind of faceless, multi ethnic mob on the outside, and that actually we always think the problem is on the outside, but really, the problem is on the inside. That’s absolutely what the point of_ Artemis _is; we kind of demonise the outside world, but the real demons are our own._
– Drew Pearce; “_Hotel Artemis_ Director Drew Pearce on Making His Personal Genre Movie, His Influences, and More” (Jack Giroux); _Slash Film_ (June 7, 2018)
_Hotel Artemis_ is a film which doesn’t do a great deal wrong. However, it is also a film which doesn’t do a great deal right. It just kind of hangs in mid-air, with clichéd characters acting in clichéd ways and having clichéd conversations. And then it ends. It’s not actually _about_ anything. It’s also predictable, with precious little substance. It looks pretty though.
In 2028, riots are tearing Los Angeles apart. The film takes place primarily in the eponymous Hotel Artemis, a secret hospital for criminals in the heart of the city. The motley crew of characters, many of whom are known only by the name of the room in which they’re staying, include Waikiki (Sterling K. Brown) and his brother Honolulu (Brian Tyree Henry), bank robbers who have been involved in a shootout with police; Nice (Sofia Boutella), an assassin who “_only kills important people_”, and just so happens to be Waikiki’s ex-girlfriend; and Acapulco (a spectacularly miscast Charlie Day), a weapons dealer and all round weasel. Also present are The Wolf King (Jeff Goldblum), Los Angeles’s most feared gangster, who also finances the hospital, his incompetent son, Crosby (an underutilised Zachery Quinto), and Morgan (Jenny Slate), a cop injured in the riots. The hospital is run by “Nurse” (Jodie Foster), an agoraphobic alcoholic haunted by visions of her past, with porter duties handled by Everest (Dave Bautista). The hospital functions because all guests must adhere to a rigid set of rules (the first of which is “_don’t kill the other patients_”) and a strict no weapons policy.
Sounds pretty interesting doesn’t it? It’s not. The dialogue is awful, the narrative beats can be seen coming a mile away, and the characters are all archetypes, with only Nurse really fleshed out to any degree. There’s the loud-mouth snivelling weapons dealer, the gorgeous but oh-so-deadly assassin, the criminal kingpin and his screw-up son who just wants to be like dad, the skilled bank robber who spends most of his time trying to get himself out of the trouble caused by his unreliable brother, and the tough-as-old-boots medical professional who just wants to help people when in actual fact, she’s beyond help herself. The premise may be reasonably interesting, but, in his debut feature, writer/director Drew Pearce undermines it by populating the _milieu_ with cardboard cut-outs instead of characters. True, most of the actors give it their all (Bautista in particular gives a performance far superior to the material with which he has to work), but there’s just no substance here, no depth. There are simply too many clichés at every level to be able to overlook them.
Yes, it’s an original(ish) idea made with a small(ish) budget, which is exactly what we need more of these days, when every second film is a CGI-infested remake, comic book adaptation, or sequel (or a CGI-infested remake of a sequel to a comic book adaptation). However, an original idea is all very well and good, but it can only take you so far; the execution has to be there as well, and this is where _Hotel Artemis_ falls down. It’s simply not an especially well-made film. Pearce does a reasonably good job with the directorial side of things, as aesthetically, the hotel is really intriguing, with a nice use of primary colours and a well-conceived juxtaposition of modern technology and 3D printers with retro décor and secret passages. In terms of plot, however, there’s just nothing to latch onto or get your teeth into. None of the characters really do or say anything very interesting, and a half-hour into the film, as it became increasingly apparent that none of them were going to be developed to any great degree, I just stopped caring.
The story is interesting and the plot was mostly exciting. The actors have played convincingly, especially Jodie Foster. Overall, the film was a bit better than OK.
more Jodie, please
Greetings again from the darkness. The feature film directorial debut of Drew Pearce is original and clever, while teasing with hope for a bit more than it delivers. Mr. Pearce is best known for writing the screenplay for IRON MAN 3, and now as a first time director, he shows enough promise to leave us interested in what comes next.
The film is set in dystopian Los Angeles a mere 10 years in the future. The streets are flooded with desperate rioters after a mega-corporation shuts off the clean water supply. The company is the film’s real villain, and the only one that The Nurse (Jodie Foster) can’t treat. See, she runs Hotel Artemis, an underground hospital for top tier criminals – the element that can’t just pop into the local community clinic for treatment on the latest bullet hole or knife wound. These patients follow a subscription plan and must stay current on their dues to gain admission.
The Nurse forgoes any attempt at personal vanity and is instead an agoraphobic, booze-chugging, (mostly) stick-to-the-rules type, who pops in anti-anxiety tapes and ear buds whenever her pulse quickens. She has run the place since it opened 22 years prior and is assisted by a mountain of man named Everest (get it?) played well by Dave Bautista. He’s a combination bodyguard, bouncer, handyman and assistant healthcare professional (check his badge).
The set design by Ramsey Avery deserves special mention as the Hotel Artemis is quietly housed in the shell of a former grand art deco hotel, now a victim to the city’s carnage – though the neon sign remains illuminated. Its vacation spot-themed rooms are a sight to behold, despite the frustratingly low lighting. Occupants are incognito and use their room names as identifiers. Sterling K Brown is Waikiki, a philosophical bank robber who dragged his brother Honolulu (Brian Tyree Henry) here for treatment after a heist went wrong. Acapulco (the always energetic Charlie Day) is a crass, motor-mouthed arms dealer, while Nice (Sofia Boutella, THE MUMMY) is a freakishly skilled assassin.
The stress level picks up when the biggest crime lord of Los Angeles shows up seriously wounded. Known as The Wolf King, an admittedly bad choice for a nickname, Jeff Goldblum brings some smooth-talking toughness, humor and twisted class to the proceedings. More than a few tentacles are attached to The Wolf King and other folks we’ve previously met, not the least of which is a very special ink pen stolen by Honolulu. Mix in an injured cop (Jenny Slate) with a personal link to The Nurse and her constantly alluded to tragic backstory, and the movie puts off a Graphic novel vibe … missing only the off-the-cuff insanity. It’s just a bit too grounded for its own good.
The high tech/low rent feel forces us to recall BLADE RUNNER AND ESCAPE FROM NEW YORK, but of course, this film isn’t at the level of either, as it lacks top tier suspense. It is a terrific reminder of what a talented actress two-time Oscar winner Jodie Foster is, and what a shame that we haven’t seen her in such a substantial screen role since 2013’s ELYSIUM. She really sinks her teeth into this odd character, and more than the action scenes, she keeps us interested the entire run time. The score is a bit too heavy on the droning electronic bass line, and while the Florida joke and nod to John Phillips (The Wolf King, “California Dreamin'”) earns some bonus points, it’s really the performance of Ms. Foster and the set design that saves a too-safe script.
Original Language en
Runtime 1 hr 34 min (94 min)
Genre Action, Crime, Drama, Sci-Fi, Thriller
Director Drew Pearce
Writer Drew Pearce
Actors Jodie Foster, Sterling K. Brown, Sofia Boutella, Jeff Goldblum
Country UK, USA
Awards 1 win & 1 nomination.
Production Company Marc Platt Productions, The Ink Factory
Sound Mix Dolby Digital
Aspect Ratio 2.39 : 1
Camera Arri Alexa XT Plus, Panavision Primo V and T-Series Lenses
Laboratory Light Iron (digital intermediate) (film finishing), Light Iron OUTPOST, USA (dailies)
Film Length N/A
Negative Format Codex ARRIRAW (2.8K)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format D-Cinema