The Machine strands Truman and Landen in 2018—an era of neon-soaked genre mashups, Big Swing studio projects, and the last gasp of mid-budget original thrillers—depositing them right at the doors of the El Royale. Before long, they’re knee-deep in false identities, shifting timelines, and enough stylish menace to make even the Machine a little uneasy.

Bad Times at the El Royale is a pulpy neo-noir thriller starring Father Daniel Flynn (Jeff Bridges, The Big Lebowski), motel singer Darlene Sweet (Cynthia Erivo, Harriet), and charismatic cult leader Billy Lee (Chris Hemsworth, Thor). Written and directed by Drew Goddard, the film follows seven strangers who converge on a once-glamorous, now-rotting hotel built directly on the California–Nevada state line. Over one stormy night, shifting allegiances, hidden motives, and buried secrets collide in a tense, stylish descent into moral ambiguity—echoing the era’s fascination with prestige genre experiments and retro mystery throwbacks.

Though released with pedigree talent and festival-friendly ambition, Bad Times at the El Royale struggled to find its audience, landing in that uncanny valley between mainstream thriller and auteur mystery box. It’s a fascinating, overstuffed, beautifully mounted oddity—exactly the kind of “almost-classic” the Machine loves to resurrect.

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Bad Times at the El Royale, Bad Times at the El Royale 2018, Drew Goddard, Jeff Bridges, Cynthia Erivo, Chris Hemsworth, Dakota Johnson, Jon Hamm, neo-noir thriller, mystery thriller, hotel mystery movie, ensemble thriller, 2010s thrillers, 20th Century Fox, Movie Memory Machine, movie podcast, film discussion, forgotten movies, cult films, film history, podcast episode, cinematic analysis, 2018 movies, retro noir, stylish thrillers

The Machine isn’t done tampering with reality. After dropping Truman and Landen into The Thirteenth Floor (1999), it pulls five more films from across decades that poke at the same unnerving question: what if this world isn’t the base layer? From analog paranoia to blockbuster bullet time to art-house identity crises, this week’s 5-For explores cinema’s favorite existential glitch.

The Machine has selected the following titles for further reality destabilization:

• World on a Wire (1973) – Rainer Werner Fassbinder’s proto-simulation TV epic that predates the digital age but nails the dread

• The Matrix (1999) – The cyberpunk phenomenon that redefined virtual reality on screen

• Free Guy (2021) – A self-aware NPC comedy about autonomy inside a video game

• Ghost in the Shell (1995) – Anime cyberpunk meditation on consciousness and artificial identity

• Certified Copy (2010) – An art-house reflection on authenticity, performance, and what’s “real” in relationships

Each of these films approaches simulated existence from a different angle—tech noir, anime philosophy, action spectacle, romantic ambiguity—but they all interrogate authorship and identity. The Thirteenth Floor sits squarely in that lineage: less flashy than The Matrix, less academic than World on a Wire, but fully committed to the same existential vertigo. Together, these five titles reveal how filmmakers across eras use genre to ask the same destabilizing question: if reality is constructed, who’s holding the controls?

Stay connected with Truman Capps and Landen Celano as the Machine continues flinging them through the forgotten, the flopped, and the strangely fascinating corners of cinema each week.

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The Thirteenth Floor, The Thirteenth Floor 1999, World on a Wire, The Matrix, Free Guy, Ghost in the Shell, Certified Copy, Rainer Werner Fassbinder, Wachowskis, Mamoru Oshii, Abbas Kiarostami, science fiction, simulation movies, virtual reality films, cyberpunk cinema, identity in film, Movie Memory Machine, movie podcast, film discussion, curated films, thematic film list, cult sci-fi, film history, cinematic analysis

Truman and Landen wrap up the lingering mysteries, theories, and stray code fragments left behind by The Thirteenth Floor (1999)—a movie that remains convinced your desktop computer is one bad day away from becoming God’s Etch A Sketch. And as always, they play The Trailer Game, trying to guess which moody shots of virtual L.A., green-screen cityscapes, and suspiciously calm Gretchen Mol the marketing team grabbed for the trailer before watching it for the first time. Next week, the Machine sends them to a new date in cinematic history with yet another cryptic clue… and inevitably a fresh opportunity for temporal chaos.

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Keep up with every Main episode, Mini-Transmission, and bonus discussion as the Machine flings Truman Capps and Landen Celano through the forgotten, the flopped, and the strangely fascinating films of decades past.

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•Official Website: https://www.moviememorymachine.com

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•YouTube: https://www.youtube.com/@MovieMemoryMachine

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Enjoy the ride through cinematic history? Become a patron to access exclusive episodes, early releases, and help keep the Machine running.

Patreon: https://patreon.com/gruntworkpod