Critic Reviews



Based on 36 critic reviews provided by Metacritic.com
Drew Pearce‘s Hotel Artemis...falls victim to much of what ails any ensemble picture — rushed plotting, forced coincidence, indulgence — but still manages to make a big impression.
We’ve seen it all before in movies and video games, but the packaging is slick and hard to resist; any sci-fi crime movie with moody camerawork by Chung Chung-hoon, a Cliff Martinez score, a cast this strange, and an original end-credits ballad by Father John Misty (also a cast member) is begging to be watched, regardless of actual content or the messiness of the action scenes.
Mr. Pearce is also well-versed in staging and shooting decent action scenes, and building suspense enough to keep Hotel Artemis diverting in its overstuffed ambition. Add to that Ms. Foster’s welcome return to big-screen acting after a five-year layoff and you’ve got a movie almost worth seeing.
For all of its faults, there’s still plenty here to praise, the result of so much being thrown at the wall is that some of it will stick. Pearce has a sharp creative flair and a head full of ideas but he feels somewhat hemmed in by the constraints of a short running time and a high profile release date.
The flavorful cast inhabit vividly drawn characters, and, perhaps most of all, the film exudes wall-to-wall, high-grunge atmosphere. That’s a lot of checked-off boxes, and yet the effect is efficiently wild rather than wildly involving, entertaining but not indelible.
The wannabe thriller set in the near future packs gritty style and ambiance, but that’s no match when the story has no stakes and doesn’t add up.
Village Voice
Whether it’s the too-harried pacing or too many central people vying for attention, the film’s heart never quite coalesces. Seizing it is like trying to grab a cloud. Pearce seems to want this movie to be both a neon pulp plot-heavy piece and a character-driven drama, and there’s just not enough time in a single film for all of it to work.
Like many movies set in colourfully bleak futures, Hotel Artemis can’t sustain the novelty of its initial world-building.
Though it boasts an agreeably preposterous scenario and a weird mixed bag of physicalities and acting styles — from Foster and Sterling K. Brown to Jenny Slate and Dave Bautista — the movie is itself an eye-rolling performance of cyber-pulp tropes and pop-movie excesses that undercuts its spotty pleasures at nearly every turn.
Slant Magazine
Hotel Artemis quickly reveals its future setting as an empty pretext for a banally convoluted and sentimentalized show of emotional rehabilitation.

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