When I reviewed the film “Tusk” I thought, “Now, I like this movie, and there is a lot of good stuff in it, but I wish it were, you know, good.” I can finally deliver unto you, a contender for the most ridiculous film to achieve certified fresh on Rotten Tomatoes of all time.
I present to you: “The Man Who Killed Hitler and then The Bigfoot.”
Not only is this the longest title of anything I’ve reviewed so far, it is also one of the most enjoyable films I have seen in the past few years. “The Man Who Killed Hitler and then The Bigfoot” is not only an absolutely ridiculous ride about a man hunting down a well-hunted reclusive cryptid as well as The Bigfoot, it is also the story of a man.
Sam Elliott stars in this unexpected drama as Calvin Barr, a WW2 veteran recruited by the American and Canadian government to take down the biggest threat to international security since the war, The Bigfoot.
Throughout the movie, we are constantly bombarded with flashbacks to Barr’s younger days leading up to, and during, his service in the war. These serve, as you might expect, to illuminate the assasination of Adolph Hitler. However, these flashbacks serve the much more important roll of shedding light on Barr’s backstory and internal conflict.
The internal conflict is actually the focus of the film and not, oddly enough, Hitler or The Bigfoot. This message is really well-summarized in the scene where Barr is speaking to Federal and Canadian agents and he says that he is not a hero, he is just a man. This is the primary message of the movie but it is easy to miss given the erratic pacing of the movie.
Pacing is the largest problem this film has. Given that roughly 50% of the story is told through flashbacks. About every other scene it breaks up both the ‘“present day”’ story and the “‘past”’ story enough that I found myself saying, “Really? Another flashback?”
The volume of flashbacks is well justified given the significance to Barr’s character development but they still feel awkward. Even with that, I cannot stress enough how good the rest of the film is.
One of the main attractive features of this film is how impactful the violence is in it. There isn’t so much of this while our protagonist is assassinating Hitler, but the scenes where Carr is hunting The Bigfoot are as visceral as they are ridiculous to describe.
We grow so desensitized to violence in movies that it gets hard to create a fight scene that can hold surprises for an audience. This film has found a solution to that problem thanks to the director, Robert D. Kyzrkowski, and the team of editors on the team.
Truthfully, the directing is phenomenal, with the right angles focused on meticulously dressed sets edited together so that any given scene has a powerful mood and plot point that is effectively delivered with style and grace. There is a lot of cinematic value in this film for examples of fine cinematography and editing, as well as ways to humanize the stories that come from seemingly outlandish ideas.
When compared to films with similar subjects, “The Man Who Killed Hitler and then The Bigfoot” far outclasses them in almost every category, even those B movies that became popular and amassed fans.
I have always found movies like “Sharknado,” “Rubber,” “Tusk” and other bizzaro plots and concepts interesting. This is not only because I found it interesting how they managed to obtain funding, but also as a question of what makes these movies likable? Why are these films featuring challenges that are so outside of real life something that people connected with enough to watch and rewatch and love and appreciate?
But I believe the answer is in the question, people embrace these films precisely because they are outlandish.
Originality counts, and a funny visual never hurts, and these films don’t fit any of the molds of typical blockbuster genres but they bring elements that are a little more daring to try to subdue into a movie that brings something more daring to the table.
I really urge you to watch “The Man Who Killed Hitler and then The Bigfoot,” especially if you’re someone who likes goofy movies or someone who likes to be constantly surprised and shocked by them. This film is an absolute experience and I can promise you will never get bored watching it. Watch this with at least one friend for someone to talk about it with after.