The Man Who Killed Hitler and Then the Bigfoot

When you see the title of the movie you think, what the hell is that going to be?, or that can't be a good movie with a title like that. But the truth is that it isn't a bad movie at all. I'm just not a big fan of movies that goes back and forth all the time. I just find that confusing and confusion is the last thing I need when I want to relax and enjoy a movie. So for me that would be the only negative thing to write about The Man Who Killed Hitler And Then The Bigfoot. For the rest it's an entertaining story with a Sam Elliott as we know him, an old grumpy bad boy with a cheeky smile every now and then. The filming is good, you never get bored either, so worth a watch to me.

This is not the movie you might reasonably have expected from the title - while both killings are part of the movie, they play second fiddle to the story of a man who has sacrified everything for what he believes is in service of the greater good.

Really took me by surprise, Sam Elliot really delivers a superb performance, which is pretty much what the movie hangs on.

Yes, it's a bit bizarre to have a movie where the assassination of Hitler and killing of Bigfoot - by the main character - are mere sidenotes in a slow-burn character study....

But it worked for me, I can see why it wouldn't for others, but it's genuinely a good movie and not the b-movie schlock-fest the title implies.

Calvin Barr (Sam Elliott) is an old man living quietly in retirement. Well, he tries. When he gets robbed by three thugs, he has to beat them up to get back his car. He is a man with a mysterious past. He killed Hitler and he's recruited to hunt down Bigfoot in Canada to prevent the spread of a plague to the world.

Sam Elliott is a cinematic treasure. He is incapable of delivering less than a fascinating performance. As for the fantastical title, the story has some of that element but the filmmaking is not quite up to the outlandish promise. There are some great little scenes but they're not really linked together. I love some of the flashbacks like killing Hitler and proposal in restaurant. This movie needs something and I'm not sure what.

Regardless of what the title may imply, 'The Man Who Killed Hitler And Then The Bigfoot (2018)' isn't a campy, perhaps 'Nazi experimentation' based, B-movie. Instead, it's primarily a character study, a mediation on murder that, refreshingly, paints the experience as negative regardless of who received the bullet. Yet the piece is never quite sure what it is or what it truly wants to be. The two almost totally separate things I've just mentioned (schlocky B-movie and serious character study) seem to be fighting for screen-time. This, of course, creates an inconsistent experience. Sometimes it's great, sometimes it isn't. The quieter, more contemplative stuff is the most successful; it's an interesting take on an oft-wondered 'what if?'. Sam Elliot is generally fantastic in the lead role, delivering on the surprising nuance of his character with his typically 'all American' charm. Aidan Turner does a good job as his younger counterpart, too - although, he really can't pull off the moustache. The rest of the cast are typically decent but a few key players don't quite pull off what they need to. The design of the eponymous 'Bigfoot' is also bizarrely squirrel-like and evidently low-budget. Indeed, the action-based segments featuring it are the worst in the entire affair, even if they do connect thematically to the much better drama stuff. It's almost a shame that 'Bigfoot' is even involved, as the flick could've been a subversive look at war-time violence and a man who almost regrets doing what most people seemingly dream of. If a steadier hand where on its wheel, the film could've been a cult classic. As it is, though, it's just fine. It's good enough but nothing more, bogged down by a strange structure and an uneven tone. It mightn't be what most people expect, but I'm glad that it isn't. 5/10

This is a movie with the most campy title and premise that is more character-driven drama then guilty b-movie action entertainment. Its surprising prestige that elevates its genre setting comes a lot from Sam Elliot's performance and director Robert D. Kryzowski's focus on the emotional weight of the protagonist's journey.

Elliot carries this strange absurd premise as Calvin Barr, a retired veteran living in solitude. As the man who assassinated the titled Nazis leader in secrecy during WW2 (played by Aiden Turner as the young Calvin), he feels regret that his mission mattered very little to world while the love of his life, Maxine (Caitlin FitzGerald) had to move on herself when he returned home. When an American agent (played by Ron Livingston) asks for Calvin's skills and service to kill the titled creature to prevent it from spreading humanity-ending disease, it becomes a catalyst for Calvin to find some form of redemption to give purpose in his life. Elliot doesn't just rely on his usual charm and charisma but shows vulnerability in his character's state of mind. From moments where he breaks down into sadness when thinking about the life he could have had or being forced to inflict harm on another thing, we are shown that Calvin is not the war hero that lived a happy life but instead is this old warrior fading away into nothing more then a myth that glorifies his violent actions. And it surprisingly fits thematically when the film explores him killing Hitler and the Bigfoot (as the title says so not a complete spoiler). The two well-known figures are interpreted in ways one would not expect as Hitler's evil was more powerful and contagious then history described and Bigfoot is seen less as a classical movie monster but as this damaged being in pain much like Calvin is internally. You still get a memorable bloody fight between Calvin and the legendary creature (even if gets too silly) but by the end you feel the tragedy for both Calvin and the Bigfoot.

Outside of Elliot's performance and his character's journey, the movie does have weak aspects. When it tries to embrace its b-movie cheesy elements they feel forced and distracting to the point it hurts the serious weight the story has built. While the film doesn't spend too time much trying to justify or explain its ridiculous plot, the slow pace can feel like its dragging even near the end. Plus the music felt like it was from a 90's hallmark soap opera that didn't feel like it fit. As silly as this movie gets, I never felt it was trying to entertainment me with cheap thrills. Elliot's awards-worthy performance and its examination on the glorification of myth and history made for an engaging piece of dramatic art to analyze and appreciate. Give this movie a watch. It will certainly be a memorable and surprising experience even if gets too crazy for its own good at times.