The emotional core of the story, such as it is, rests with Jodie Foster (The Beaver). Her characterization and efforts are filled with promise, but don’t fully pay off even if they drive the tale. The fault here is the script, not Foster, who brings a lot of subtlety and physicalization to her Nurse.
Foster is assisted by an oddly devoted Dave Bautista (Escape Plan 2: Hades). There isn’t anything new on screen here from him, but he serves his purpose. Likewise for Jenny Slate (Venom), who swings into the story late, but with nice complications.
Staying in the hotel are an unsurprisingly motley crew. Sterling K. Brown (Predator) leads that list, continuing his breaking out onto the big screen by leveraging what he does best. Brown’s intensity combined with his ability to remain vulnerable always makes him interesting to watch and relate to. He helps anchor Foster’s storyline with his own. Brown is joined by a lithe, bitingly cold, but not particularly surprising, Sofia Boutella (Star Trek Beyond), and an absurd Charlie Day (Pacific Rim: Uprising). Each has aspects to add to the overall plot, but neither feels entirely grounded or real (by choice or presentation).
And then there were the smaller, but linchpin roles by Jeff Goldblum (Le Week-End), Zachary Quinto (Hitman: Agent 47), and Brian Tyree Henry (Widows). Each one is a domino to fall in the interlaced tales that drive the Artemis. None is particularly believable, though Henry doesn’t really misstep so much as not have as much to work from in the script as the other two. They all try to wring what they can from their characters and situations despite the shortcomings.
Like I said, loaded with talent. So what went wrong? Director and writer Drew Pearce (Iron Man 3) never quite gets the pacing right, nor was he able to balance the emotions in a way that sells the situation and the characters. From the outset, the movie is off on the wrong foot with stupid choices made by supposedly practiced criminals. Setting it against a city-wide uprising was an interesting choice, but that reality was a story convenience that never did more than force the plot rather than enrich the tale or issues. When you start with something as obvious as naming the hotel for the goddess of the hunt (and, to a degree, chastity), you sort of know where you’re headed and where you’re not.
I’m not saying this is entirely a waste of time. Some of the performances, Foster for instance, are interesting to watch. There are some good fight scenes. The cinematography and production design are engaging. It just isn’t what it could be and it isn’t particularly good. Depending on your mood and what you’re looking for, it may work better for you than it did for me.