Regardless of what the title may imply, 'The Man Who Killed Hitler And Then The Bigfoot (2018)' isn't a campy, perhaps 'Nazi experimentation' based, B-movie. Instead, it's primarily a character study, a mediation on murder that, refreshingly, paints the experience as negative regardless of who received the bullet. Yet the piece is never quite sure what it is or what it truly wants to be. The two almost totally separate things I've just mentioned (schlocky B-movie and serious character study) seem to be fighting for screen-time. This, of course, creates an inconsistent experience. Sometimes it's great, sometimes it isn't. The quieter, more contemplative stuff is the most successful; it's an interesting take on an oft-wondered 'what if?'. Sam Elliot is generally fantastic in the lead role, delivering on the surprising nuance of his character with his typically 'all American' charm. Aidan Turner does a good job as his younger counterpart, too - although, he really can't pull off the moustache. The rest of the cast are typically decent but a few key players don't quite pull off what they need to. The design of the eponymous 'Bigfoot' is also bizarrely squirrel-like and evidently low-budget. Indeed, the action-based segments featuring it are the worst in the entire affair, even if they do connect thematically to the much better drama stuff. It's almost a shame that 'Bigfoot' is even involved, as the flick could've been a subversive look at war-time violence and a man who almost regrets doing what most people seemingly dream of. If a steadier hand where on its wheel, the film could've been a cult classic. As it is, though, it's just fine. It's good enough but nothing more, bogged down by a strange structure and an uneven tone. It mightn't be what most people expect, but I'm glad that it isn't. 5/10