Metacritic reviews

The Man Who Killed Hitler and Then The Bigfoot lays all its cards on the table up front, but then still manages to never quite be what you expect it to be. It juggles a lot of ostensibly ridiculous ideas, but they all land just right because the film's deliciously dour tone, that sort of snuggles everything within the warm embrace of Sam Elliott's ruggedness and regret.

Elliott's performance as Barr makes the movie.

The Man Who Killed Hitler and then the Bigfoot isn’t the loony chuckle-fest that many might want and it’s not as affecting a character piece as Krzykowski might want, but it’s a crackpot showcase for a performer who deserves one or two, crackpot or otherwise.

The Man Who Killed Hitler and Then the Bigfoot is an exquisitely boring movie, a promise of high-concept adventure that only delivers a stiflingly melancholy ode to the unknown soldier.

The gambit doesn’t really work — fans of "The Notebook" and people who own "Sorority Babes In The Slimeball Bowl-O-Rama" will both come away disappointed — but it’s hard not to respect Krzykowski’s attempt to do something different.

It’s a film full of interesting ideas, all wrapped up in messy, even shoddy methods, and an undeniably sincere and rather astonishing performance from Sam Elliott, who doesn’t seem to give a hoot whether he’s hunting Bugs Bunny or the Oscar gold–he’s just going to go for it, dammit.

The Man Who Killed Hitler and Then the Bigfoot is a sprawling, meandering drama that doesn't quite deliver on its ambitious promise (and intriguing title).

Krzykowski’s pacing and tone is off as he tries to meld his comic book instincts – visually atmospheric if susceptible to arch cheesiness — with the requirements of a small-scale drama.

I suppose there are some who will get off on this movie’s competence and uber-sincerity, but I found the premise one or two bridges too far. Sam Elliott junkies, too, are sure to be delighted.

There is something admirably perverse about a movie that treats the killings of Hitler and Bigfoot as secondary to a character study of a crusty old man and his regrets, but that doesn’t make the film less dull or deflating to watch.