The Man Who Killed Hitler and Then The Bigfoot: A Deep Dive into the Ambitious Indie Film Now on Amazon

At first glance, the title "The Man Who Killed Hitler and Then The Bigfoot" reads like a pulpy genre mashup. However, this 2018 indie drama plays as a meditative character study rather than a bombastic action adventure. Now available on Amazon Prime Video, this passion project from first-time director Robert D. Krzykowski offers an unconventional viewing experience for those seeking patient storytelling.

Bringing the Ambitious Vision to Life

Writer/director Krzykowski spent over a decade developing the script, finally bringing his singular vision to life on a modest $2 million budget. Inspired by his own grandfather‘s service in WWII, Krzykowski called upon that generation‘s sense of duty and regret. His thoughtful direction focuses on mood and performance rather than spectacle.

Leading man Sam Elliott anchors the film with a nuanced turn as Calvin Barr, a haunted WWII vet who assassinated Hitler decades ago. Elliott‘s worn yet soulful presence delivers the world-weariness and loss central to Krzykowski‘s vision. The production design and vintage cinematography further amplify the melancholic tone.

Muted Theatrical Release, Second Life on Streaming

Despite positive festival buzz, the film netted only $121,965 during a small theatrical release in early 2019. However, it found an audience on streaming and rental platforms, accruing over 8,700 IMDb votes. On Amazon Prime Video, user reviews average an impressive 4.1 out of 5 stars.

While unconventional, the movie‘s availability online aligns with current indie film distribution trends favoring digital over traditional theatrical. As a consultant, I advise clients to consider streaming and VOD releases as they provide great exposure at lower risk. For a niche passion project like "The Man Who Killed Hitler and Then The Bigfoot," these platforms permit the material to find its specific audience.

Critical Analysis: Meditative Tone Meets Mixed Reviews

Make no mistake – Krzykowski‘s film moves slowly and deliberately, prioritizing reflection over action. Sam Elliott‘s world-weary gravity powers the story more than the plot itself. Critics‘ reviews matched this languid pace, ranging from meditative to meandering.

The film earned a 67% Rotten Tomatoes approval rating, with critics praising the performances but lamenting the slow pace. On Metacritic, it received a middling score of 54 based on 14 reviews. Many reviews highlight Elliott‘s "magnetic screen presence" but note the film is "more arthouse than grindhouse" (The Playlist).

While admirable in its unconventional approach, the film fails to fully deliver on the intriguing title. But Elliott and Krzykowski‘s commitment to tone makes it worthwhile for fans of pensive indie drama.

Themes: Regret, Sacrifice and Myths as Metaphors

Beneath the TITLE, THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT filters weighty themes through the lens of myth and pulp fiction.

Regret looms heavy over Elliott‘s Calvin Barr, isolating him under the burden of mistakes and loss. His hermit existence shows profound remorse.

Sacrifice also marks Barr‘s life, giving up a chance at happiness and human connection for duty. The Bigfoot mission represents one last chance to make his sacrifices meaningful.

The "Legend of Bigfoot" symbolically explores the unknowable mysteries of life. Its inclusion adds universal resonance to the story of regret and redemption.

While imperfect, the film successfully translates pulp legends into metaphors for complex emotional themes.

An Ambitious Passion Project Carried by Elliott‘s Gravitas

In the end, Robert D. Krzykowski‘s audacious debut manages to translate his eccentric passion into a mostly cohesive film. Anchored by Elliot‘s gravitas, THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT overcomes an unwieldy premise to offer affecting themes of regret and redemption. As an ambitious passion project, it deserves a look from fans of patient, reflective indie dramas.