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It would not be difficult to disregard a new version of Road House. The role portrayed by the rugged and sweaty Patrick Swayze in the thrilling 1989 action movie is not an easy one to replicate. Furthermore, follow-up films and remakes often shift the delicate scale between being pleasantly bad to just plain bad, which was a defining feature of many films from that era. Additionally, this adaptation of Road House, directed by Doug Liman (known for The Bourne Identity), has raised some controversy as it will skip movie theaters and be available for streaming exclusively on Amazon Prime Video. This decision, given the vast amount of forgettable content, may cast doubts on its quality.
The plan to release the film straight to streaming, regardless of intent, is a disappointment. Liman’s flashy and over-the-top remake appears to have a higher production value and more depth than what is typically seen in digital releases. This Road House, inspired by the Ultimate Fighting Championship, stars Jake Gyllenhaal as a tough bouncer with a troubled past and is better suited for the big screen, as evidenced by the enthusiastic response at its premiere at SXSW. Moving the setting from Missouri to the Florida Keys, the new Road House, written by Anthony Bagarozzi and Charles Mondry (in collaboration with original screenwriter David Lee Henry), is a thrilling ride of exaggerated dialogue and intense fighting, although it can be overwhelming at times.
Similar to his forerunner, Elwood Dalton, portrayed by Gyllenhaal, is a dry and occasionally philosophical character with extraordinary mixed martial arts abilities. He flees from a fight that got out of hand (in this instance, an actual UFC match) to a smaller and less polished environment. We are introduced to Dalton, who is living in his car in unsavory south Florida, barely scraping by with prize money earned by intimidating amateur fighters like Carter (played by Post Malone), causing them to flee the ring with just a glimpse of his professionally sculpted abs. In an almost incomprehensible explanation, Frankie, a bartender from the Keys and portrayed by Jessica Williams, enters the picture. Her trademark sarcastic humor is almost too rational amidst all the craziness of south Florida. Faced with either aimless depression or a few thousand dollars a month to maintain peace at her family’s bar, Dalton makes his way to the Road House, a dive bar by the beach that resembles a smaller and more affordable version of Margaritaville.
The Road House is known for its rough crowd. It seems to draw in a lot of volatile individuals and also has a large number of talented musicians who provide the soundtrack for the frequent bar fights that occur within its chain-link fence. One particularly troublesome group of patrons is a biker gang led by Dell (JD Pardo), who is eventually taken down in a 5 against 1 showdown with Dalton. This encounter showcases the film’s lighthearted approach to the superhero genre and also entangles Dalton with the nefarious developer Brandt (played effectively by Billy Magnussen).
The story includes elements such as drugs, corrupt law enforcement, violence, boats, and Jake Gyllenhaal’s shirtless pull-ups, but these are not the focus. The stakes, driven by money, death, and kidnapping, are often unclear and not fully explored within the two-hour runtime. Little attention is given to Dalton’s background, except for a flashback revealing his past crime. The supporting characters, including bartender Laura, bouncers Billy and Reef, bookstore owner Stephen, his daughter Charlie, and Dalton’s love interest Ellie, are also underdeveloped. Despite hints at intriguing details, such as Ellie’s dysfunctional family and Frankie’s heritage as a Black business owner in a racist society, they are overshadowed by the action and physicality of the film. These details only briefly arise as potential character motivations, leaving the audience wondering why anyone would choose to stay in such a chaotic town.
Despite its small-town setting, The Road House offers a thrilling experience and intense fights. The impressive stunts, Gyllenhaal’s convincing performance, and Conor McGregor’s debut as a UFC champion-entertainer contribute to the film’s success. Although the bar itself may be unassuming, the fight scenes are grandiose and exaggerated, with moments like crocodile fights, full-cast brawls, and a death match between the protagonist and McGregor’s cocky and occasionally nude hitman. It’s a raw, brutal and entertaining spectacle.
In “McGregor,” it has been revealed that he has a natural talent for playing the role of a flamboyant and wicked villain, often stealing the spotlight from a more down-to-earth Gyllenhaal. Director Liman effectively maintains a sense of camp throughout the film, while also emphasizing the physicality of fights – broken bones, bloody noses, and the harsh impact of a punch to the head. Those who are sensitive to depictions of brain damage or tooth loss should approach this movie with caution. I have never had an interest in UFC, and this film solidified that decision, although I see it as a compliment to the way Liman balances the flashy and realistic elements of fighting. This balance is not always achieved in the new version of “Road House,” but it ultimately delivers what it promises: strong onscreen presence and a consistently enjoyable viewing experience.
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The film “Road House” will be released on Amazon on March 22nd.
Source: theguardian.com
