The Royal Hotel

The Royal Hotel approaches its thriller material with more interest in character than a quick synopsis might suggest. Directed by Kitty Green, it leans on Julia Garner and Jessica Henwick to give the material a human centre. The spoiler light setup draws Backpackers Hanna, Liv and Australian into the same story, creating a specific hook without requiring a long recap. The film's first job is to make that setup feel worth following, and it establishes the necessary stakes efficiently.

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The film is sharpest when it narrows the characters' options and lets consequences arrive naturally. That sense of escalation provides momentum, while the cast keeps the tension rooted in recognisable reactions. The balance holds more often than it slips. A clear directorial hand keeps the story moving, while the performers bring personality to material that could have felt routine. The film's pleasures are modest, but they are genuine and consistently delivered.

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Julia Garner and Jessica Henwick carry much of the emotional responsibility, and their different approaches keep the central relationship from becoming one note. Herbert Nordrum makes a strong impression without pulling focus from the main line. Kitty Green's direction gives reactions time to register, which is important in a film where a look or hesitation can communicate more efficiently than another explanatory exchange.

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Thematically, The Royal Hotel is interested in trust, control and the anxiety created when reliable information becomes difficult to separate from manipulation. That uncertainty gives the suspense a psychological edge, especially when the characters must act before they possess the complete picture. The film is most persuasive when these ideas emerge from behaviour rather than speeches. That additional layer gives the story more purpose than a sequence of familiar genre beats, even if every implication is not explored with equal depth.

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The filmmaking supports suspense through limitation. Framing withholds useful information, the edit stretches moments without stopping them, and sound often points toward a threat before the image confirms it. These choices are familiar, yet they are applied with enough discipline to keep the viewer alert to space, silence and the possibility of a sudden change.

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The weakness is predictability. Some developments can be felt approaching well before they arrive, and the film occasionally explains an emotion that the actors have already communicated. Tighter writing would have made the good material land with more force. It is also a reminder that genre works best as a framework for character, not as a substitute for character.

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Overall, The Royal Hotel is a solid, likeable film with more strengths than weaknesses. I would recommend it to thriller fans who prefer steady escalation and psychological pressure to empty surprise, provided expectations stay realistic.