With a title like The Man Who Killed Hitler and Then the Bigfoot, one would think that the movie would be an exploitation-style action romp. Unfortunately, anyone who’s walking into this movie with the expectation that it’s another Hobo With a Shotgun or Machete better check those expectations at the door. Not that the film doesn’t deliver on its distinctly specific title. However, the film ends up being less of an over-the-top cult film and more of a somber character piece about a lonely man who became a hero at the price of his own happiness.
The film follows Calvin Barr (Sam Elliott), a bitter World War II veteran who was tasked with assassinating Adolf Hitler. As told in flashbacks (where Barr is played by Aidan Turner), the task ends up separating Barr from the love of his life (Caitlin Fitzgerald), and he lives out his days as a crusty, bitter loner whose only company is his brother (Larry Miller) and his dog. One day, he’s contacted by a government agent (Ron Livingston) to come out of retirement to kill another threat - the legendary Bigfoot, who has a mysterious disease that could spread to others if he’s left in the forest for too long. As Barr goes to track down the yeti, he reflects on his own decisions that brought him to this point in his life.
The film is an incredibly dour experience, rarely filled with any moments where characters crack a smile. Loneliness and isolation are heavy motifs in this film, and the moments in which Barr is by himself on screen vastly outweigh the moments in which he shares the screen with other major characters. Even the film’s soundtrack rarely gets too over-the-top, often restricted to a restrained, haunting sound throughout the film, even during the many moments in which a character doesn’t necessarily speak. The film doesn’t look to fill the dialogue-less void with loud, bombastic music, constantly moving at a slow, steady pace.
Sometimes the film can feel a bit too slow, though. The first half of the film is the weaker half of the two, moving at a snail’s pace as it sets everything up, making the 98 minute run time feel like it’ll be an eternity. While we get a very good idea of at least two big moments in the film thanks to its title, it does take some time to explain why Barr is the way he is when he first meet him, and most of the time we get scenes of him brooding without a clear sense of direction. And the grim nature of the movie doesn’t help either. While not every movie is meant to be a happy experience, its crawl-like pace mixed with the somber tone can easily wear thin.
The only times in which the film really cranks things up in terms of intensity are during the two moments mentioned in the title. These scenes are exceptionally thrilling, with the sequence in which Barr goes to track down Bigfoot in particular being one of the film’s highlights. While never explicitly stated, it’s heavily implied that the film takes place in the 1980’s, and as such, the Bigfoot scenes give off the feel of adventure movies during that time period, such as Stand By Me and (to an extent) the Indiana Jones movies.
These scenes give off a nice air of nostalgia, which is especially thanks to how well the film was shot. Directed by first time filmmaker Robert D. Krzykowski, the film is visually appealing, and the themes of loneliness and distance are often felt through the composition of each scene, with Barr being filmed more often than not at a distance. Even during the two titular moments, the camera doesn’t get in too close on the action, and because of this, they almost feel symbolic, as it shows a man performing an action that further detaches him from the rest of humanity.
The film’s strongest element is the lead performance by Sam Elliott. He brings all his usual stoic toughness to the role, giving us an even more humane version of the lonesome gunslinger character trope. He turns in an excellent performance, and it’s actually quite a shame that he does. While this is overall one of his better performances, it would have been great if he had better material to work with. It’s also a shame that the rest of the cast doesn’t get to do nearly as much as he does, with the only exception being Aidan Turner as the young Barr, though it sometimes feels like the younger actor is emulating a bit of Elliott’s style so that the personality matches both time periods.
The Man Who Killed Hitler and Then the Bigfoot delivers on its silly title. Hitler is indeed killed. Followed by Bigfoot. However, beyond those two moments, the film isn’t really the zany experience one would think it would be. It’s not totally a bad thing, as we do get a solid character piece about the sacrifices a man makes and the consequences of said sacrifices. However, it also tends to be a borderline depressing experience at times, and the fact that it trudges along as slow as it does can get frustrating. The film’s strongest point is Sam Elliott, whose fantastic performance manages to elevate some of the weaker material. The film is worth checking out solely for his performance though this may not be beneficial to watch more than once.
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