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Four Rooms

Four Rooms

Twelve outrageous guests. Four scandalous requests. And one lone bellhop, in his first day on the job, who's in for the wildest New year's Eve of his life.

199598 minRMidcredits score: 68th percentile of all films
Directors
Robert Rodriguez, Quentin Tarantino, Alexandre Rockwell, Allison Anders
Starring
Tim Roth, Jennifer Beals, David Proval, Ione Skye

It's Ted the Bellhop's first night on the job...and the hotel's very unusual guests are about to place him in some outrageous predicaments. It seems that this evening's room service is serving up one unbelievable happening after another.

Where to watch

Where can I watch Four Rooms?

As of October 24, 2026, MovieCove lists Four Rooms streaming on Pluto TV (free) and to rent or buy on Prime Video.

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Your rating, lists and review

Highlights

What stands out about Four Rooms?

Four Rooms earns 7 badges, led by Crowd Pleaser and New Year's pick.

  • Reception
  • Craft and mood
  • Awards and box office

Reception

Is Four Rooms worth watching?

Four Rooms' Midcredits score is the 68th percentile of all films, from 218K ratings across 4 sources. 63% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

68th percentile

Better received than 68% of films

76th percentile among Comedy70th percentile among 1990s
Acclaim (how much people like it)63rd
Approval (how many liked it)70th

65 /100

63rd percentile of all films

72nd percentile among Comedy67th percentile among 1990s

Rating distribution

A broad spread centered near 6.8 — solid but not unanimous.

63% liked it

70th percentile of all films

77th percentile among Comedy71st percentile among 1990s
63% rated it 7–1037% rated it 1–6

Critics 13% · Audience 69%

On Rotten Tomatoes, a bigger share of audiences approved than critics.

Awards

0 Oscars won · 0 Oscar noms · 2 wins / 1 noms overall

95th percentile

218K ratings across platforms

95th percentile among Comedy93rd percentile among 1990s
TMDB popularity, last 37 days to Oct 26Down 28% in 30 days

Box office

Budget$4M
Opening weekend$428K
Domestic gross$4.3M
Worldwide gross$4.3M

Returned 1.1× its budget — 62nd percentile earner in its genre.

What reviewers say

Common ground

An anthology comedy whose quality is wildly uneven, with the strongest work coming from Robert Rodriguez and Quentin Tarantino.

Fans praised

  • Tim Roth's manic, slapstick bellhop performance
  • Rodriguez's 'The Misbehavers' and Tarantino's 'The Man from Hollywood' segments
  • Offbeat, cult-ish charm and inventive anthology concept

Detractors panned

  • Uneven quality, especially the first two segments
  • Tim Roth's over-the-top mugging is grating, not funny
  • Self-indulgent, unfunny writing and direction

What stands out

EndingDivisive75

Final bet sequence delivers a darkly funny punchline

OriginalityDivisive72

Innovative anthology format, though derivative in places

ActingDivisive68

Tim Roth's hyper-kinetic bellhop polarizes; Banderas and Willis shine

DialogueDivisive65

Tarantino's rapid-fire wit in final segment, but others fall flat

AtmosphereDivisive65

Seedy hotel setting and quirky tone carry the film

HumorDivisive58

Slapstick and dark comedy land in Rodriguez's segment, fall flat elsewhere

Plot and storyDivisive45

Thin, disjointed anthology stories, weak first half

PacingDivisive40

First half drags badly; second half improves momentum

Preferred by

Under-30s vs over-30s

Preferred by Over-30s

Over-30s scored it 13 points higher than under-30s.

Critics vs users

Preferred by Users

Users scored it 17 points higher than critics.

US vs non-US

Preferred by Non-US Viewers

Non-US viewers scored it 19 points higher than US viewers.

No notable difference between the other groups: each pair ranks it within 10 percentile points.

  • Women vs men 2 points apart

Watch experience

What is Four Rooms like to watch?

Conclusions only — categories and positions, no plot detail.

Easy laugh: browse every movie of this kind

Watch this when you want something light that makes you laugh and does not take itself seriously.

It is intense, never lets up and leaves you entertained. Skip it when you want something with weight.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Nothing out of the ordinary.

What it feels like

Easy laugh.

Moods
TenseAbsurdManic
Heaviest: middle
Dark humor
Register
PlayfulAbsurdist · 7% of films: Deliberately illogical; embraces nonsense.
Told as
Episodic · 13% of films: Loosely connected incidents rather than one driving plot.
ToneThe film holds its material at varying distances, from playful to absurd, but never takes itself seriously; it is a self-aware anthology of comedic bits.
The rideThe film oscillates between playful absurdity and bursts of uncomfortable tension, peaking in the macabre third segment.
StructureThe film is structured as four distinct short stories linked by the bellhop character on New Year's Eve.

How it leaves you

what you carry away

Entertained.

FunFeel-good
Why it leaves you this wayThe film leaves you entertained by its inventive, often ridiculous scenarios, with a sense of having had a good, if uneven, time.
How it ends · evidence
Ambiguous ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9%: Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3%
  • Rebirth 13%: Redemption 3% · Healing 5% · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22% (this title)

No archetype fits — true of 22% of films: ensemble pieces, satire, slice-of-life.

Why this archetypeThe film is an anthology of four unrelated stories; no single plot archetype applies to the whole.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfPurposeSelf
Every theme, clockwise from the top
  • Bonds 27%: Romantic love 15% · Marriage 2% · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22% (this title): Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% (this title) · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9% (this title)
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% · Trauma 7% · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% (this title) · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Self

Purpose · 9% of filmsCommunity · 14% of films: Consequences reach a town, institution or group.Deception · 9% of films
Interrogates its theme: Questions its theme without settling the answer.Intimate stakes: Consequences reach a person or a household.Single lead
How it treats its themeThrough surreal encounters, Ted struggles to fulfill his duties as a bellhop in a job that tests his sense of purpose and nerve.
StanceThe film lightly questions the absurdity of service roles and male ego without condemning or celebrating.

The world

ContemporaryInstitutionalUrbanRealistic
Orchestral modernJazzExperimentalSupportive music · original score · Combustible Edison
SettingA grand hotel in Los Angeles on New Year's Eve
MusicLounge-exotica score that mirrors the retro-hip hotel atmosphere

Content guide

Is Four Rooms okay for kids?

R

Four Rooms is rated R: “Rated R for pervasive strong language, sexuality and some drug use” (MPAA). As of October 3, 2026, Midcredits content scores put its violence at intense (67/100), sexual content at intense (64/100), language at severe (83/100), drug and alcohol content at intense (68/100) and frightening material at moderate (51/100). Overall it is heavier than 70% of R-rated films.

Ratings in 13 other countries
  • UK18
  • AustraliaMA 15+
  • Germany16
  • Ireland18
  • South Korea18
  • Brazil16
  • CzechiaU
  • Denmark15
  • FinlandK-18
  • Netherlands12
  • Norway18
  • Poland18
  • Sweden15
Overall
Intense · all five categories
Heavier than 82% of all filmsHeavier than 70% of R-rated films
Violence & Gore
Intense
typical for an R-rated film
heavier than 45%
Sex & Nudity
Intense · audience split: No severity level holds a majority of voters
heavy for an R-rated film
heavier than 80%
Profanity
Severe
heavy for an R-rated film
heavier than 79%
Alcohol & Drugs
Intense
heavy for an R-rated film
heavier than 86%
Frightening / Intense
Moderate
typical for an R-rated film
heavier than 33%

Point along a line to see a well-known title at that level.

Heavy almost across the board: language, drug and alcohol content, violence, and sexual content. Everything else sits at or below what R-rated films usually carry.

Source: Midcredits content scores, 0 (none) to 100 (severe) per category, with each standing ranked against other films that have them.

What content warnings does Four Rooms have?

Not screened for content warnings yet.

Cast and crew

Who is in Four Rooms?

Cast

1 of the cast already had the standing of a top-10% working actor.

Tim Roth
as Ted the Bellhop
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Jennifer Beals
as Angela (segment: The Wrong Man) (segment: The Man from Hollywood)
David Proval
as Sigfried (segment: The Wrong Man)
Ione Skye
as Eva (segment: The Missing Ingredient)
Madonna
as Elspeth (segment: The Missing Ingredient)
Antonio Banderas
as Man (segment: The Misbehavers)
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Quentin Tarantino
as Chester (segment: The Man from Hollywood)
Paul Calderon
as Norman (segment: The Man from Hollywood)
Bruce Willis
as Leo (segment: The Man from Hollywood)
Established: A standing when this film came out that a top-10% working actor has today.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Lana McKissack
as Sarah (segment: The Misbehavers)
Screen debut: No prior film or television role.

Crew

More like this

What are movies like Four Rooms?

Movies like Four Rooms include Ready to Wear (1994), My Big Night (2015) and 200 Cigarettes (1999). Of the 9 closest matches, most are episodic films, and several are films that feel manic.

Balanced: every group counts the same, and production only breaks ties.

5 of these 9 share its story type: anthology. Those cards say what else they share.

Explore by

What else shares a premise, people or place with Four Rooms?

Each tag opens Browse with the films that share it.